TION  PICTURE 
ACTING 


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HOWTO  PREPARE  FOR  PHOTOPLAYING 
WT  QUALIFICATIONS  ARE  NECESSARY 
HOW  TO  SECURE  AN  ENGAGEMENT 


9  p    SALARIES  PAID  TO  PHOTOPLAYERS 


FRANCES  AC NEW 


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THE  LIBRARY 

OF 

THE  UNIVERSITY 
OF  CALIFORNIA 

LOS  ANGELES 


-     ' 


\ 


MISS    FRANCES   AGNEW. 
Author.  Actress  and  Photoplayer. 


MOTION    PICTURE 
ACTING 

HOW  TO  PREPARE  FOR  PHOTOPLAYING 

WHAT  QUALIFICATIONS  ARE  NECESSARY 

HOW  TO  SECURE  AN  ENGAGEMENT 

SALARIES  PAID  TO  PIIOTOPLAYERS 


BY 

FRANCES  AGNEW 


ILLUSTRATED    EDITION 


RELIANCE  NEWSPAPER  SYNDICATE 

PUBLISHERS 

1547  Broadway,  New  York  City 


COPYRIGHT,  igia 

RELIANCE  NEWSPAPER  SYNDICATE,  PUBLISHERS 
NEW  YORK  CITY 


College 
Library 


AUTHOR'S  NOTE 

To  MY  READERS: 

This  timely  book  is  tendered  to  those  interested 
in  the  profession  of  photoplay  ing,  not  only  as  a 
textbook  of  personal  instruction,  but  also  in  the 
nature  of  a  book  of  facts  regarding  the  opportuni- 
ties of  this  work,  the  qualifications,  essential  talents 
and  methods  of  procedure  for  success  as  a  photo- 
player. 

The  information  herein  has  been  gleaned  from 
the  writer's  personal  experience  with  various  film 
companies  and  on  the  dramatic  stage — the  different 
engagements  affording  her  an  opportunity  to  draw 
comparisons — and  a  careful  study  and  investigation 
of  the  subject  of  motion  pictures  as  an  industry, 
a  present  and  future  profession,  and  a  source  of 
amusement  and  instruction  to  the  whole  world. 

The  writer  is  humbly  grateful  for  the  data  given 
by  many  of  the  most  famous  photoplay ers  whose 
experience  and  stellar  positions  have  given  them  an 
insight  into  every  phase  of  this  vast  industry,  and 
especially  for  the  patient  encouragement  and  kind 
assistance  of  the  publishers,  who  alone  made  this 
little  book  a  possibility  and  a  reality. 

F.  A. 

1567798 


CONTENTS 

PART  PAGE 

I.    EARLY  BEGINNINGS  OF  THE  MOTION  PICTURE  IN- 
DUSTRY       .    .  9 

II.    THE  ART  OF  PHOTOPLAY  ACTING 16 

III.  QUALIFICATIONS 24 

Talent 24 

Health 25 

Mental  Ability •     .  27 

Personal  Appearance 29 

Personality 31 

Age 32 

Patience,  Pluck  and  Perseverance  Plus  Ambi- 
tion      33 

IV.  TRAINING 34 

Physical  Culture 34 

Breathing 38 

Facial  Expression  and  Pantomime  Practice    .  40 

Observation 43 

V.    How  A  MOTION  PICTURE  ENGAGEMENT  is  OB- 
TAINED        44 

Theatrical  Agencies 45 

Jobbing 53 

Film  Companies 56 

Types 59 

VI.    SALARIES  OF  MOTION  PICTURE  PLAYERS   ....  62 

VII.    Do's  AND  DON'TS  TO  THE  PROSPECTIVE  PHOTO- 
PLAYER      65 

VIII.    HEIGHTS  OF  SUCCESS  AS  A  PHOTOPLAYER  ....  67 

IX.    PRODUCING  A  PHOTOPLAY 71 

The  Motion  Picture  Studio 7* 

The  Stage — foreground  and  side  lines  ....  72 

Costumes 7*> 

Make-up 77 


CONTENTS 

PART  PAGE 

X.    STATEMENTS  OF  SUCCESSFUL  PHOTOPLAYERS  ...  83 

Miss  Gwendoline  Pates  (Path6  Freres)  ...  83 

Mr.  Carlyle  Blackwell  (Kalem) 84 

Miss  Miriam  Nesbitt  (Edison) 85 

Miss  Flora  Finch  (Vitagraph) 87 

Miss  Mae  Hotely  (Lubin) 88 

Miss  Muriel  Ostriche  (Reliance) 9° 

Miss  Alice  Joyce  (Kalem) 93 

Mi.  John  Bunny  (Vitagraph) 95 


LIST  OF  ILLUSTRATIONS 

PAGE 

Miss  Frances  Agnew,  the  Author    ....     Frontispiece 

Miss  Alice  Joyce H 

Miss  Joyce  and  Miss  Agnew  in  a  Kalem  Photoplay  ...  18 

Mr.  John  Bunny 22 

Miss  Mae  Hotely 26 

Miss  Mae  Hotely  in  a  Lubin  Photoplay       3° 

Miss  Agnew,  as  Jessica,  in  "The  Merchant  of  Venice"  .     .  34 

Miss  Agnew  as  an  Indian  Maid  in  a  Crystal  Photoplay  .     .  38 

Miss  Gwendoline  Pates 42 

Miss  Pates  in  a  PathS  Freres  Photoplay 46 

Miss  Pates  in  a  Pathe"  Freres  Photoplay 50 

Miss  Pates  in  a  PathS  Freres  Photoplay 54 

Miss  Agnew,  as  Lucius,  in  "Julius  Caesar" 58 

Miss  Miriam  Nesbitt 62 

Miss  Miriam  Nesbitt  in  an  Edison  Photoplay 66 

Miss  Muriel  Ostriche 7° 

Mr.  Carlyle  Blackwell 74 

Miss  Mae  Hotely  in  a  Lubin  Photoplay 78 

Miss  Flora  Finch 82 

Miss  Finch  in  a  Vitagraph  Photoplay 86 

Miss  Finch  and  Mr.  John  Bunny  in  a  Vitagraph  Photoplay  .  90 

Miss  Mae  Hotely  as  an  Irishwoman 94 

Mr.  John  Bunny  as  a  Jolly  Tar 98 


MOVING    PICTURE 
ACTING 


PART   I 

EARLY   BEGINNINGS   OF  THE  MOTION 
PICTURE  INDUSTRY 

IF  YOUR  grandmother,  when  a  little  girl,  had 
been  told  that  perhaps  she  "would  live  to  see 
the  day"  when  there  would  be  real  moving 
pictures,  she  would  have  been  all  excitement  and 
like  most  women — and  men,  too,  to  be  fair  to  all — 
she  would  have  been  filled  with  that  often-tragic 
possession  known  as  sheet  curiosity.  Naturally,  her 
first  question  would  have  been  "What  are  moving 
pictures  ?"  She  no  doubt  had  a  vague  idea  of  mov- 
ing or  animated  pictures.  Perhaps,  like  children  of 
to-day,  she  had  made  her  own  "movies"  by  holding 
an  ordinary  picture  close  to  the  eyes,  staring  at  it  a 
moment  in  a  "cross-eyed"  fashion,  thus  producing 
the  illusion  of  animation.  Staring  at  a  picket 
fence,  striped  materials,  etc.,  without  blinking  the 
eyes,  soon  deludes  one  into  believing  that  the  rails, 
stripes  or  perpendicular  lines  are  swaying  from 

9 


MOVING    PICTURE    ACTING 

side  to  side,  while  in  reality  it  is  only  an  illusion  of 
the  optical  organs.  Perhaps,  also,  "grandmother's 
big  brother"  had  a  magic  lantern,  a  toy  which  like 
the  camera  or  larger  projecting  lantern  has  been 
likewise  improved,  so  that  children  of  to-day  are 
also  the  delighted  possessors  of  toy  motion  picture 
machines. 

She  knew  all  this,  and  had  no  doubt  seen  stereop- 
ticon  slides.  How  could  there  be  anything  greater  ? 
And  yet  the  world  was  destined  to  know  and  see 
something  even  greater  in  this  line,  and  if  the  vast 
strides  made  by  men  of  photographic  genius  can  be 
taken  as  a  criterion  for  the  future,  the  half  has  not 
yet  been  accomplished. 

The  earliest  beginnings  of  what  might  be  called 
moving  pictures,  though  in  the  crudest  form,  of 
course,  were  about  1872,  we  are  told — just  a  few 
years  after  that  great  civil  catastrophe  which  im- 
peded the  progress  of  discovery  and  invention  in 
our  country  and  also  in  foreign  lands,  since  the  eyes 
of  the  Old  World  were  centered  on  the  efforts  of 
every  true  American  to  save  his  nation  according  to 
his  own  convictions  of  how  that  should  be  done. 
Although  it  is  known  that  prior  to  this  date,  even 
before  the  war,  similar  experiments  were  made  by 
various  inventors,  yet  we  have  little  record  of  the 
results  of  these  efforts,  and  nothing  noteworthy  was 
accomplished. 

About  this  time  (1872),  an  enterprising  English- 
man, a  resident  of  America,  however,  conceived  the 

10 


MOVING    PICTURE    ACTING 

idea  of  making  motion  pictures  by  the  use  of  suc- 
cessive snap  shots.  It  was  his  belief  that  the  re- 
sults could  be  accomplished  by  placing  several 
cameras  in  a  row  and  as  the  object  to  be  photo- 
graphed passed,  each  camera  took  a  "snap."  This 
method  was  used  to  photograph  the  actions  of  ani- 
mals in  motion,  and  its  greatest  success  was  at  the 
race  track.  Here,  strings  attached  to  each  camera 
were  stretched  across  the  track  at  such  a  height  as  to 
make  it  impossible  for  the  horse  to  pass  without 
breaking  the  string.  In  so  doing  the  horse  really 
took  a  snap  shot  of  his  action  at  that  moment. 
These  "snaps,"  after  development,  were  pieced  to- 
gether and  shown  on  the  screen  in  much  the  same 
way  that  stereopticon  slides  are  exhibited.  While 
he  truly  accomplished  something  in  the  way  of  ani- 
mated pictures,  and  at  least  set  the  pace  for  others 
to  follow,  giving  the  impetus  strongly  responsible 
for  present  day  results  in  animated  photography,  it 
is  quite  apparent  that  his  method  could  be  put  to 
very  limited  use.  In  fact,  the  only  experiments  he 
made  were  the  running  and  walking  actions  and 
athletic  feats  of  men  and  animals  as  they  passed 
before  the  row  of  cameras.  It  is  also  obvious  that 
the  films  thus  produced — most  uninteresting  and 
boring  in  comparison  with  those  now  shown — must 
have  depicted  very  disconnected  and  jerky  move- 
ments when  thrown  on  the  screen.  When  we  com- 
pare this  method  with  that  in  use  to-day  and  try  to 
consider  how  it  would  have  been  possible  for  its 

II 


MOVING   PICTURE    ACTING 

originator  to  make  pictures  of  such  length  as  are 
now  shown,  we  get  a  clear  idea  of  its  impractica- 
bility and  also  a  hazy  conception  of  the  enormous 
expense  it  would  involve.  Imagine  using  a  separate 
camera  to  photograph  every  action  in  a  picture  to- 
day !  It  would  be  limited,  of  course,  to  progressive 
actions  across  the  screen,  but  even  so,  to  merely 
show  some  of  the  racing  scenes,  etc.,  which  it  is 
our  privilege  to  enjoy,  would  have  necessitated  the 
use  of  hundreds,  nay,  thousands  of  cameras.  What 
an  undertaking  it  would  have  been! 

However,  every  little  bit  accomplished  in  any 
work  brings  the  dreams  of  ingenious  minds  closer 
to  the  goal  of  perfection,  and  while  these  experi- 
ments revealed  no  very  profitable  results  at  that 
time,  the  stimulus  which  this  one  man's  efforts  gave 
to  others  was  wonderful.  Men  all  over  the  world 
immediately  set  to  work  for  one  single  accomplish- 
ment— perfection  in  motion  picture  photography. 
Each  sought  to  outdo  the  efforts  of  others;  each 
one,  no  doubt,  had  dreams  of  giving  the  world  the 
invention  which  should  mark  perfection  in  animated 
pictures.  Perhaps  the  greatest  of  these  early  ef- 
forts was  the  invention  of  the  "Wizard  of  Elec- 
tricity," Thomas  A.  Edison.  This  one  of  his  many 
wonderful  inventions,  exhibited  to  the  world  in 
1893,  was  known  as  the  "Kinetoscope" — not  in  its 
present  state  of  perfection,  but  more  in  the  nature 
of  a  grown-up  toy.  It  was  operated  by  dropping 
a  coin  into  the  slot,  and  when  thus  "fed"  it  gave 

12 


\ 


MOVING    PICTURE    ACTING 

to  the  spectator  whose  eye  was  placed  to  the  peep- 
hole a  momentary  glimpse  of  what  appeared  to  him 
then  to  be  not  only  marvelous  but  almost  impossible. 
The  automatic  actions  of  the  photographs  in  the 
machine  made  the  figures  thereon  seem  almost  alive. 
Ma'ny  doubters  refused  to  believe  and  declared 
themselves  duped.  Though  it  was  impossible  that 
human  hands  could  be  working  the  machine,  they 
still  discredited  its  wonders.  Others  could  only  rub 
their  eyes  in  astonishment  and  admiration. 

Mr.  Edison,  however,  seemed  to  have  little  faith 
in  his  device  except  as  a  coin-eating  toy,  and  neg- 
lected to  patent  his  invention  in  Great  Britain. 
Thus,  visitors  to  America,  with  a  hazy  idea  of  its 
far-reaching  possibilities,  sought  to  have  the  ma- 
chine copied  in  England.  There,  one  Robert  A. 
Paul,  to  whom  they  confided  their  plans,  after  in- 
vestigation learned  of  Mr.  Edison's  neglect  and  thus 
found  it  easy  to  control  the  machine  in  that  country. 
He  planned  to  extend  its  wonders  by  perfecting, 
from  the  foundation  thus  laid  by  Edison,  a  ma- 
chine which  would  throw  these  animated  pictures 
on  the  screen.  His  efforts  in  this  direction  met 
with  ultimate  success  and  an  amusing  incident  is 
told  of  his  first  remarkable  accomplishment.  It 
is  said  that  in  the  wee  sma'  hours,  one  morning  in 
1895,  he  and  his  associates  were  rewarded  with 
success  by  seeing  the  results  of  their  efforts  in  the 
form  of  the  first  perfect  motion  pictures  that  had 
been  thrown  on  the  screen.  Incidentally,  this  pic- 

13 


MOVING    PICTURE    ACTING 

ture  was  less  than  fifty  feet  in  length;  to-day  few 
are  made  containing  less  than  five  hundred  or  a 
thousand  feet.  But  it  was  such  a  remarkable 
achievement  and  Robert  A.  Paul  had  worked 
so  hard  for  this  accomplishment  that  he  and 
his  associates  could  not  refrain  from  expressing 
their  appreciation  of  their  own  work  to  such  an  ex- 
tent that  the  neighborhood  of  their  little  studio 
was  much  disturbed  in  its  restful  morning  slumbers. 
So  great  was  the  exultation  that  the  blue-coated 
guardians  of  peace  (or  perhaps  they  did  not  wear 
this  regalia  at  that  time)  were  summoned  to  in- 
vestigate. When  they,  too,  were  allowed  to  view 
the  remarkable  exhibition  of  real  moving  pictures, 
they  undoubtedly  forgot  the  complaints  of  the 
awakened  slumberers,  and  themselves  joined  in  the 
shouts  of  delight,  leaving  the  disturbed  citizens  in 
the  neighborhood  to  give  way  to  their  wrath  by 
lengthy  and  not  too  carefully  worded  discourses 
against  the  prowlers  of  the  night  who  denied  the 
laborer  his  just  deserts  as  an  occasional  inhabitant 
of  dreamland! 

However,  after  this  climax  of  success  Robert  A. 
Paul  succeeded  in  producing  several  other  pictures, 
truly  remarkable  at  this  stage  of  the  art,  and  an 
English  manager,  ever  on  the  alert  for  a  novelty 
which  would  attract  the  public  and  in  turn  rain  gold 
into  his  private  coffers,  negotiated  with  him  for  the 
right  to  use  the  machine  and  pictures  in  his  theater. 
Though  dubious  as  to  the  outcome  of  the  device 

14 


MISS  ALICE  JOYCE,  THE  FAMOUS   LEADING  LADY  OF  THE  KALEM  CO. 


MOVING   PICTURE    ACTING 

when  "tried  out"  on  a  critical  public,  Paul  finally 
consented  to  share  in  the  venture.  Needless  to  say, 
enormous  success  was  the  result.  Thus  began  the 
first  of  the  apparently  infinite  chain  of  motion  pic- 
ture theaters.  To-day  Greater  New  York  City  alone 
contains  more  than  six  hundred  of  these  places  of 
amusement — some  most  elaborate,  others  mere 
"holes  in  the  wall"  with  a  screen  at  one  end,  an 
operating  box  at  the  other,  and  spectators'  benches 
between.  This  number  is  being  increased  daily, 
while  throughout  the  whole  world,  even  in  the 
smallest  cities  and  towns,  moving  picture  theaters 
are  being  opened  constantly  and  a  great  many  of 
the  large  legitimate  houses  have  been  turned  over 
to  this  form  of  amusement,  thus  proving  its  ever- 
growing popularity. 

During  these  years  others  in  different  countries — 
France,  Germany  and  our  own  United  States  par- 
ticularly— were  making  similar  experiments,  with 
the  result  that  many  different  devices  were  put  on 
the  market.  However,  the  invention  of  Thomas  A. 
Edison,  the  genius,  while  greatly  improved,  not  only 
by  himself  but  by  many  other  remarkable  inventors, 
may  be  said  to  have  formed  the  basis  of  all  later 
machines.  The  various  motion  picture  devices 
which  flash  amusement  and  instruction  for  the 
masses  to-day  are  but  improvements  on  and  addi- 
tions to  the  wonderful  apparatus  which  startled  the 
whole  world  during  the  years  1893-1897. 


PART  II 
THE  ART  OF  PHOTOPLAY  ACTING 

Utterly  apart  from  and  at  the  same  time  vitally 
related  to  the  subject  of  moving  pictures,  their 
growth  and  future  possibilities  from  a  scientific 
standpoint,  is  the  art  of  photoplay  acting.  This 
profession,  too,  may  be  said  to  be  in  its  infancy. 
In  the  beginning  only  the  lesser  players  could  be 
induced  to  enter  such  work.  It  was  far  beneath 
the  dignity  of  an  artist!  To  give  them  the  benefit 
of  the  doubt,  the  salaries  at  that  time  were  very 
small,  and  this  may  have  influenced  the  better  class 
of  actors  against  the  thoughts  of  becoming  motion 
picture  artists.  Nevertheless,  those  who  were  led 
into  the  work  were  condemned  by  regular  theatrical 
managers  who  refused  to  consider  them  for  parts 
on  the  stage  after  such  experience.  These  moguls 
denounced  the  work  as  tending  to  make  mechanical 
figures  rather  than  natural  actors;  they  claimed 
that  pantomime  without  the  effect  of  voice  work 
made  the  player  like  a  tree,  all  limbs,  to  put  it 
frankly,  rather  than  an  artist  in  full  control  of  every 
muscle  and  mentality  necessary  for  the  production 
of  a  real  actor.  As  a  result  of  this  attitude  toward 

16 


MOVING    PICTURE    ACTING 

the  work,  many  of  the  "movie"  players  were  re- 
cruited from  the  amateur  ranks  even  in  those  days, 
and  it  is  estimated  that  a  large  percentage  of  the 
screen  stars  of  this  age  had  no  other  experience, 
but  were  the  most  timid  of  amateurs  when  they 
began  to  pose  for  the  pictures. 

As  pictures  gained  in  popularity  and  larger  and 
more  elaborate  theaters  were  built  in  which  to  en- 
tertain the  masses  with  this  form  of  amusement 
and  instruction,  the  film  companies  naturally  derived 
a  greater  profit  from  the  fact  that  the  added  num- 
ber of  theaters  necessitated  an  additional  number  of 
copies  of  each  picture.  This  steady  growth  natur- 
ally spurred  the  makers  to  better  productions ;  they 
sought  to  place  before  the  public  pictures  of  the 
highest  standard  then  known.  By  judicious  adver- 
tising and  just  remuneration  they  secured  the  best 
of  outside  ideas  and  plots  for  the  foundation  of 
their  pictures,  thus  beginning  another  interesting 
and  lucrative  profession  in  connection  with  this 
work — that  of  scenario  writing.  These  plots  were 
for  productions  requiring  larger  casts  of  players 
than  they  had  hitherto  used,  and  the  makers,  recog- 
nizing the  fact  that  the  better  the  players,  the  better 
the  acting,  and  the  more  readily  could  they  express 
almost  all  the  emotions  and  ideas  that  can  be  con- 
veyed even  in  stage  work  with  the  vital  assistance 
of  the  voice,  offered  splendid  financial  inducements 
to  both  talented  amateurs  and  capable  professionals. 
As  a  result,  the  artists  in  the  larger  theaters,  some 

17 


MOVING    PICTURE    ACTING 

of  them  without  engagements,  others  with  shaky 
contracts,  used  their  common  sense  and  decided 
that  "A  bird  in  the  hand  is  worth  two  in  the  bush," 
a  "sure  thing"  at  a  good  salary  would  more  than 
overbalance  the  thought  that  one's  standard  would 
be  lowered  in  becoming  a  "movie"  player.  Am- 
bitious amateurs,  too,  plunged  into  the  work  with 
zeal  and  enthusiasm — the  remuneration  for  one  and 
all  being  a  certain  amount  for  each  day's  work. 
This  was  similar  to  what  is  known  as  "jobbing" — 
that  is,  working  only  when  needed  and  being  paid 
for  the  time  in  service.  After  a  while,  however, 
the  companies  began  to  note  and  gather  data  as  to 
the  impressions  made  on  the  spectators  by  the  per- 
sonality and  work  of  different  players.  Their 
names  were  not  given  to  the  public  in  any  way, 
but  the  audiences  learned  to  know  their  faces  and 
to  follow  the  work  of  their  favorites  in  the  different 
pictures  in  which  they  appeared. 

Naturally,  this  interest  and  admiration  for  certain 
players  produced  a  corresponding  admiration  and 
desire  to  see  the  photoplays  made  by  their  manage- 
ment, and,  recognizing  this  as  a  good  means  of  ad- 
vertising, the  manufacturers  placed  these  special 
players  on  a  guaranteed  salary  basis — the  number 
thus  engaged  forming  the  regular  "stock"  organiza- 
tion whose  services  are  at  the  exclusive  command 
of  one  company. 

The  universal  popularity  and  fame  gained  by 
photoplayers,  if  gifted  for  the  work  and  endowed 

18 


MOVING   PICTURE   ACTING 

with  an  appealing  personality,  is  amazing.  Even 
some  of  the  lesser  screen  lights  are  to-day  better 
known  throughout  the  country  than  a  number  of 
the  most  finished  stage  stars.  They  have  their  ad- 
mirers in  every  part  of  the  globe.  They  assist  in 
making  many  pictures  in  the  studio  or  surrounding 
country,  and  in  a  short  time  these  pictures  have 
traveled  far  and  wide  and  entertained  the  masses. 

"One  man  in  his  time  plays  many  parts,"  is  an 
old  saying,  but  a  photoplayer  "goes  this  one  better." 
He  plays  many  parts  in  many  places  on  the  self- 
same night.  He  cannot  be  in  more  than  one  place 
at  a  time  personally,  yet  his  acting  is  enjoyed  by 
thousands  in  many  different  localities  at  the  same 
moment.  All  this  has  been  made  possible  by  the 
motion  picture  machine,  which  is  truly  one  of  the 
wonders  of  the  world !  The  "movie"  actor  does  not 
know  his  audience,  but  his  audience  knows  him,  and, 
with  a  view  to  gratifying  the  desire  on  the  part 
of  spectators  to  know  their  favorites  better  (natur- 
ally prompted  by  the  personal  profit  in  sight,  too), 
most  of  the  current  magazines  recognized  the  wis- 
dom of  a  department  for  motion  pictures,  photo- 
players,  etc.,  while  many  other  newer  magazines  are 
published  solely  in  their  interest,  with  question 
columns  which  enable  a  closer  friendship,  so  to 
speak,  between  the  delighted  spectator  and  his  screen 
favorite. 

Besides  this,  it  is  the  privilege  of  many  of  the 
screen  stars  to  go  and  see  their  audiences  personally 

19 


MOVING   PICTURE   ACTING 

— not  only  "from  the  front"  where  they  can  sit  as 
one  of  them,  seeing  but  unseen,  and  gathering  a  deal 
of  information  as  to  the  varied  opinions  of  their 
acting  while  it  is  being  shown  on  the  screen — but 
also  from  the  stage,  as  oftentimes,  especially  in  the 
last  year,  a  "movie"  favorite  is  invited  to  come  in 
person  to  a  theater  in  the  vicinity  in  which  they 
may  be  located,  to  be  seen  "in  the  flesh,"  and 
speak  a  word  to  the  audience  regarding  the 
motion  pictures,  also  giving  laughable  accounts 
of  interesting  happenings  while  working  in  the 
pictures. 

To  see  a  well-known  player  taking  a  prominent 
part  in  a  first-run  film  and  then  see  and  hear  the 
player  personally  is  a  treat  to  the  fortunate  au- 
diences, and  naturally,  when  it  is  advertised  that 
Mr.  or  Miss  Blank  of  the  Blank  Film  Company  will 
appear  on  the  evening  of  such-and-such  a  date,  the 
box  office  receipts  show  the  spectators'  appreciation 
of  the  pleasure  accorded  by  the  manager,  thus  mak- 
ing it  a  profitable  deal  for  him.  Though  a  very 
few  players  have  been  known  to  give  their  services 
in  such  cases  for  the  glory  and  free  advertising  it 
brought,  yet  the  majority  of  them  are  independent 
of  this  course  and  only  make  such  appearances  for 
a  stipulated  remuneration — these  appearances  sub- 
ject to  the  consent  of  the  management  of  the  film 
company  by  whom  they  are  employed.  The  amount 
received  ranges  from  $10.00,  $15.00  and  $25.00 
upward  for  each  appearance,  according  to  the  size 

20 


MOVING   PICTURE   ACTING 

of  the  theater  (an  amount  not  to  be  scorned  when 
it  is  remembered  that  this  is  clear  profit  "on  the 
side").  Some  of  the  more  prominent  players  have 
added  as  much  as  $100.00  to  their  regular  weekly 
salary  as  the  result  of  such  personal  appearances 
in  the  motion  picture  theaters. 

There  are  also  opportunities  when  the  manage- 
ment of  the  company  allows  a  player  to  accept  a 
vaudeville  offer  made  by  some  booking  agent  or 
theater  manager  who  wishes  to  feature  the  motion 
picture  player  on  a  special  vaudeville  bill.  These 
appearances  are  made  in  all  the  larger  cities  at 
various  times  and  net  the  "movie"  star  a  very  large 
salary,  since  his  fame  in  the  pictures  acts  as  a  big 
advertisement  and  drawing  card  in  the  theater  for 
which  he  is  billed.  Thus  the  deal  is  a  mutual  suc- 
cess. Mr.  John  Bunny,  for  instance,  draws  a  salary 
of  $1,000.00  a  week  for  occasional  weekly  engage- 
ments in  vaudeville.  Others  of  less  fame  and  enter- 
taining ability  receive  in  proportion  according  to  the 
"goods  they  have  to  offer"  in  the  way  of  a  novel 
vaudeville  act  and  their  power  as  a  box  office 
magnet. 

Such  personal  appearances  break  the  monotony 
of  regular  picture  work  and  give  the  photoplayer 
that  which  is  lacking  in  the  studio — applause!  It 
is  not  always  conceit  which  incites  players  to  long 
for  this  indication  of  public  appreciation;  more 
often  it  is  a  yearning  for  encouragement  and  a  de- 
sire to  know  that  his  efforts  to  "make  good"  have 

21 


MOVING   PICTURE    ACTING 

not  been  in  vain.  "Applause  is  the  spur  of  noble 
minds,  the  end  and  aim  of  weak  ones." 

It  is  not  every  city  or  town,  of  course,  that  has 
the  privilege  of  seeing  and  hearing  the  players  per- 
sonally in  this  way.  In  places  where  a  stock  com- 
pany is  located  to  take  pictures  it  is  not  so  difficult 
for  the  theater  manager  to  make  such  arrangements, 
but  other  cities  or  towns  not  among  the  list  possess- 
ing the  desired  scenery  for  special  photoplays  can- 
not enjoy  this  privilege  except  in  cases  where  a 
player  goes  on  a  tour  to  lecture  on  the  subject 
of  motion  pictures,  or  accepts  special  vaudeville 
offers,  or  secures  leave  of  absence  from  the  film 
company  for  the  purpose  of  making  an  extended 
vaudeville  tour  throughout  the  country. 

It  is  amusing  to  watch  the  efforts  of  a  photo- 
player  to  extricate  himself  from  the  throng  of  ad- 
mirers who  storm  the  theater  and  wait  outside  for 
Mr.  or  Miss  Blank,  and  when  at  last  in  sight,  even 
a  smile  or  friendly  word  is  highly  cherished  because 
it  came  from  that  player.  This  is  only  another  of 
the  heights  of  popularity  all  over  the  country  which 
this  work  affords. 

As  the  general  public  has  watched  the  growth 
and  in  a  measure  become  familiar  with  the  origin 
and  expansion  of  the  profession  of  photoplaying 
for  both  men  and  women,  "stage-struck"  humanity 
the  world  over  has  in  many  cases  changed  its 
adoration  from  the  legitimate  theaters  to  the  mo- 
tion picture  houses.  Others  who  have  little  interest 

22 


MR.  JOHN  BUNNY,  THE  GREAT  STAR  OF  THE  GREAT  VITAGRAPH  CO. 


MOVING   PICTURE   ACTING 

in  regular  dramas,  comedies,  etc.,  as  shown  in  the 
legitimate  theaters  or  "opery  house,"  have  become 
intensely  interested  in  motion  picture  work.  Thus 
"the  lure  of  the  screen,"  we  may  call  it,  rather 
than  the  lure  of  the  footlights,  is  becoming  stronger 
than  many  can  resist,  and  again  and  again  do  we 
hear  the  question  "How  can  I  get  a  chance?"  or, 
in  stage  parlance,  "break  in." 

By  way  of  explanation,  in  passing  it  is  well  to 
note  that  the  word  "legitimate"  in  theatrical  par- 
lance is  the  term  used  to  denote  the  ordinary  speak- 
ing stage  or  dramatic  and  musical  branch  of  the 
profession,  as  contrasted  with  the  variety  or  vaude- 
ville stage,  or  the  latest  branch — motion  picture  act- 
ing. Thus  we  say  of  a  dramatic  or  musical  actor 
on  the  speaking  stage,  "He's  in  the  'legit/  "  which 
is  a  professional  slang  phrase  meaning  that  he  is 
on  the  legitimate  stage ;  "He's  doing  the  two-a-day" 
means  that  he  is  in  vaudeville,  and  "He's  working 
in  the  movies"  means  that  he  is  posing  or  playing 
in  motion  pictures. 


PART   III 
QUALIFICATIONS 

At  this  point  the  "stage-struck"  one,  with  due 
personal  justice,  should  ask  himself,  "Am  I  eligible, 
or  gifted  with  the  qualifications  essential  to  success 
as  a  photoplayer  ?" 

I.    TALENT 

First  and  foremost,  perhaps,  are  a  natural  talent 
and  love  for  acting  and  the  yearning  desire  to  "make 
believe  you're  somebody  else,"  as  children  say. 

It  is  rare  indeed  to  find  an  instance  in  which 
a  normal  individual  has  not  at  some  time  in  his  life 
experienced  what  is  known  as  the  "stage-struck" 
fever.  It  usually  attacks  young  manhood  or  woman- 
hood between  the  ages  of  15  and  20,  though  some 
have  had  the  malady  even  earlier,  others  later.  A 
deep-rooted  case  results  in  real  sane  ambition,  which 
nothing  can  daunt.  In  a  mild  form  the  "fever"  soon 
breaks  and  other  interests  in  life  take  its  place.  No 
case  is  to  be  regarded  seriously  by  those  who  would 
check  it  until  it  has  had  control  of  the  "patient" 
for  a  year  or  two.  During  this  time,  if  really  in 

24 


MOVING   PICTURE    ACTING 

earnest,  he  or  she  will  have  prepared  or  planned 
a  fortification  against  every  obstacle  and  made  a 
firm  resolution  to  succeed,  in  spite  of  the  draw- 
backs of  financial  disability,  parental  objection  or 
lack  of  opportunity,  even  though  it  might  mean 
longer  years  of  work  and  waiting.  This  is  the  test 
of  true  ambition,  and  when  it  so  asserts  itself  those 
interested  can  do  no  better  than  to  quell  their  objec- 
tions, if  any,  and  substitute  helpful  encouragement. 
To  return  to  the  subject  of  talent,  however :  this 
is  a  most  necessary  qualification,  of  course,  but  it 
pales  into  insignificance  in  comparison  with  some 
of  the  other  necessary  attributes.  Do  not  under- 
stand that  one  can  succeed  without  talent  to  a  de- 
gree, but  it  has  been  proven  in  many  cases  that 
even  remarkable  histrionic  ability  is  not  in  itself 
adequate.  Talent,  with  the  added  force  and  wise 
direction  of  other  qualifications,  spurred  on  by 
patient  ambition,  cannot  fail  to  win  success. 


II.    HEALTH 

Even  marked  talent  can  accomplish  little  without 
good  health,  which  is  an  important  attribute  to  suc- 
cess in  any  undertaking.  A  weak  body  is  a  draw- 
back to  any  ambition,  and  especially  is  it  a  bar  to 
one  who  would  work  for  the  amusement  of  the 
world.  In  the  studio  and  outdoors  the  photoplayer 
is  subject  to  various  changes  of  weather  conditions, 

25 


MOVING    PICTURE    ACTING 

long  hours  of  steady  work  and  confinement,  and  dis- 
comforts both  in  traveling  and  in  stationary  en- 
gagements, which  a  weakling  cannot  combat.  He 
may  brave  the  hardships  of  such  a  career  for  a  while, 
but  unless  strong,  physically,  a  nervous  breakdown 
is  inevitable.  The  actor,  more  than  any  other,  per- 
haps, should  be  almost  immune  to  illness.  In  legiti- 
mate work  he  may  have  an  understudy  to  take  his 
place.  However,  every  part  is  not  understudied, 
especially  the  stellar  roles,  and  if  the  actor  in  the 
part  cannot  go  on  it  often  necessitates  canceling 
the  performance,  causing  financial  loss  to  each  and 
every  member  of  the  company  as  well  as  to  the 
management.  In  the  studio  it  is  the  same.  Perhaps 
a  player  is  working  in  a  picture  which  has  been 
continued  from  the  day  before.  He  is  expected  at 
the  studio  at  a  certain  hour  and  everything  is  in 
readiness  for  work.  Should  illness  prevent  his  re- 
porting, the  director  cannot  even  resort  to  the 
understudy  system.  If  the  picture  had  not  been 
started,  he  could  put  another  player  in  the  part, 
but  it  is  impossible,  under  ordinary  circumstances, 
to  use  two  players  for  the  same  part  in  one  picture. 
The  director  can  do  nothing  but  postpone  the  pic- 
ture until  the  actor's  recovery,  or  re-take  the 
previous  scenes  with  another  in  the  role. 

No  one  can  do  better  than  to  strengthen  himself, 
physically,  by  a  regular  system  of  freehand  or  gym- 
nastic exercises.  This  subject,  however,  is  discussed 
more  fully  under  the  head  of  training.  First  of 

26 


MISS  MAE  HOTELY,  OF  THE  EUBIN  CO. 


MOVING   PICTURE   ACTING 

all,  attain  good  health.  Examine  yourself  care- 
fully in  this  particular.  Are  you  normal  in  every 
way?  lips  red,  eyes  clear,  flesh  firm,  appetite  good, 
nerves  steady?  If  not,  why  not?  Your  mode  of 
living  affects  your  health.  Many  can  trace  bad 
health  to  certain  habits  or  extravagant  methods  of 
living  which  they  insist  on  retaining,  though  the 
advice  of  their  physician  is  but  a  repetition  of  per- 
sonal knowledge  which  they  could  follow  them- 
selves if  they  but  had  the  courage  and  self-control. 


III.    MENTAL  ABILITY 

It  has  often  been  said,  maliciously,  that  actors 
neither  need  nor  possess  brains,  but  are  as  so  much 
human  clay  in  the  hands  of  the  directors.  This 
is  a  gross  insult  to  the  entire  profession  of  acting, 
no  matter  in  what  branch.  The  mental  power  of 
a  large  percentage  of  the  world's  Thespians  is  not 
only  far  above  the  average,  but  in  many  cases  re- 
markable. Genius  has  been  employed  in  the  crea- 
tion of  some  of  the  wonderful  characters  which 
have  been  unfolded  to  us  both  on  the  stage  and 
on  the  screen.  Originality  and  depth  in  a  charac- 
terization are  the  products  of  mental  force  as  well 
as  feeling,  and  no  true  artist  is  lacking  in  that 
capacity.  He  who  succeeds  must  be  normal  men- 
tally. Not  all  players  are  marvels  of  intellect,  'tis 
true,  but  in  this  work,  as  in  all  lines  of  endeavor, 

27 


MOVING   PICTURE    ACTING 

talent  amounts  to  little  unless  its  "side  partner"  is 
good  common-sense.  A  wonderful  education  is  not 
necessary.  In  some  cases  it  is  an  impossibility — 
in  others  a  waste  of  money.  No  circumstances, 
however,  make  it  necessary  for  any  one  to  be  ig- 
norant. "Accuse  not  nature,  she  has  done  her  part : 
do  thou  but  thine,"  is  sound  advice  which  should  be 
followed.  You  may  recall  the  announcement  some 
time  ago  of  President  Eliot  of  Harvard  University, 
in  which  he  stated  that  he  had  selected  the  contents 
of  an  eight-foot  book  shelf  which  contained  a  good 
and  sufficient  education  any  one  could  personally 
give  to  himself  if  he  so  desired.  This  is  but  another 
way  of  saying  that  systematic  home  study  and  sensi- 
ble reading  give  in  themselves  a  broad  education 
and  enable  one  to  readily  think  and  converse  on  in- 
teresting topics  of  the  day.  This  is  particularly 
helpful  in  theatrical  work.  In  the  studio  one  meets 
a  great  many  different  people,  and  unless  he  is  in- 
tellectually on  a  plane  at  least  with  these  people  he 
will  find  himself  somewhat  alone  and  isolated. 

Then,  too,  a  fair  education,  coupled  with  good 
common  sense,  THE  essential  point,  carries  with 
it  a  certain  amount  of  business  ability  which  is  a 
coveted  asset  and  a  most  beneficial  possession  in 
the  field  of  art  and  literature.  It  is  a  deplorable 
fact,  but  nevertheless  true,  that  few  players  have 
a  natural  or  trained  commercial  intelligence.  They 
spend  their  earnings  freely,  often  make  ill-advised 
investments  and  forget  to  lay  by  for  the  "rainy" 

28 


MOVING   PICTURE    ACTING 

season — between  engagements.  The  photoplayer  is 
less  apt  to  experience  this  "rainy"  season,  since  his 
work  goes  on  all  the  year — 52  weeks — but,  until 
he  has  made  a  name  and  created  a  demand  for  his 
services,  even  he  is  not  exempt  from  such  a  time 
when  that  most  independent  of  possessions — a  bank 
account,  however  small  its  beginning — serves  as  a 
"mighty  good  comforter."  Therefore,  beware! 
Covet  not  wealth,  but  strive  for  independence! 


IV.    PERSONAL  APPEARANCE 

A  very  important  detail,  of  course,  is  personal 
appearance.  This  is  more  essential  to  the  photo- 
player  than  to  the  legitimate  actor,  since  the  for- 
mer cannot  resort  to  the  same  artifices  of  make-up 
which  assist  and  solve  many  problems  for  his 
brother  behind  the  footlights.  The  camera  is  most 
accurate,  and  to  become  a  good  successful  photo- 
player  one  must  possess  at  least  ordinary  regular 
features  and  normal  physical  development.  This 
applies  to  a  straight  player,  not  including  the  ec- 
centric unusual  types  which  find  opportunity  in 
special  pictures  written  expressly  for  such  figures. 

Generally  speaking,  large  facial  features  make  a 
much  better  impression  both  in  stage  and  screen 
work.  This  does  not  mean  abnormally  large,  but 
rather  more  than  mere  doll  features.  Small 
features  can  be  made  to  appear  larger,  but  those 

29 


MOVING   PICTURE    ACTING 

on  whom  Nature  has  bestowed  this  asset  will  find 
it  an  advantage.  It  is  quite  apparent  that  large 
features  have  more  strength  or  carrying  power. 
Their  expressions  can  be  clearly  read  even  in  the 
farthest  corner  of  any  room  where  the  changing 
moods  of  small  doll-like  features  would  hardly  be 
discernible.  Large  dark  expressive  eyes  are  a 
special  asset.  In  fact,  the  "windows  of  the  soul" 
are  the  strongest  medium  of  expression  within  the 
control  of  the  photoplayer. 

Both  blondes  and  brunettes,  fair  and  dark  com- 
plexions, are  engaged  in  picture  playing,  but  the 
latter  are  given  the  preference  since  it  has  been 
found  through  experience  that  except  in  rare  cases 
the  brunette  photographs  better  for  the  screen.  A 
normally  healthy  person  possesses  the  physical 
development  of  his  age,  height,  etc.  No  more  is  re- 
quired, though  it  is  obvious  that  physical  exercise 
would  enhance  and  strengthen  this  development. 

Closely  akin  to  the  subject  of  personal  appear- 
ance in  general  is  the  question  of  beauty,  which 
may  well  be  called  a  coveted  possession,  but  a 
dangerous  weapon  in  the  hands  of  those  endowed 
with  no  other  qualities.  Attractive  features  are  an 
asset,  of  course,  but  do  not  be  obsessed  with  the 
idea  that  beauty  is  essential  or  necessary.  There 
are  few  young  men  who  cannot  be  said  to  present 
a  good  appearance  and  few  young  women  who  are 
not  pretty  to  a  degree,  but  on  the  other  hand  there 
are  very,  very  few  who  can  boast  of  remarkable 

30 


MISS  MAE  HOTELY  IN  A  SCENE  FROM  A  PHOTOPLAY  OF  THE  LUBIN  CO. 


MOVING   PICTURE    ACTING 

natural  beauty.  If  so,  there  would  be  little  need 
for  the  manifold  "Beauty  Secrets"  articles  which 
appear  in  the  columns  of  every  daily  newspaper. 
Cosmetics  would  be  little  in  demand  and  there 
would  be  no  opportunity  for  the  richly  paid  beauty 
specialist. 

Be  neat  and  magnetic — attractive,  not  gaudy — in 
your  dress  and  demeanor,  developing  the  other  gifts 
bestowed  by  nature,  and  you  will  have  little  cause 
to  mourn  over  your  lack  of  exterior  beauty  or  to 
bewail  the  fate  that  did  not  make  you  one  of  the 
chosen  "very,  very  few." 


V.    PERSONALITY 

This  qualification  is  the  embodiment  of  talent, 
health,  mental  and  commercial  ability  and  personal 
appearance.  It  is  an  almost  indefinable  "something" 
which  lures  or  repels.  When  it  attracts  it  might 
be  called  "charm"  and  in  this  meaning  it  is  a 
wonderful  asset  in  stageland  or  screenland.  With- 
out ambition  and  average  mentality  one  hasn't  the 
bubbling  enthusiasm  of  an  alluring  personality.  It 
is  personality  which  wins  popularity.  Recall  the 
names  of  your  "screen"  favorites.  Was  it  some 
wonderful  bit  of  acting  which  coerced  your  admira- 
tion ?  No !  Wasn't  it  some  manly  traits  or  actions 
peculiar  to  himself,  or  the  dainty  ways  or  alluring 
smile  which  only  she  could  possess?  That  is  per- 

31 


MOVING   PICTURE    ACTING 

sonality — magnetism,  a  quality  which  every  player 
seeks  to  develop  to  the  utmost. 


VI.    AGE 

No  fixed  rule  could  be  made  governing  the  age 
of  the  beginner  in  screenland.  The  profession  to- 
day includes  those  of  all  ages — from  the  cradle  to 
60  or  more.  This  depends  almost  entirely  upon 
the  individual.  Every  type  and  age  of  humanity 
is  at  some  time  or  other  pictured  in  the  photoplays 
— babies,  little  children,  youth,  young  manhood  or 
young  womanhood,  middle  age,  and  life  in  elderly 
years.  So  one  must  be  guided  by  circumstances. 
Under  favorable  conditions,  financially  or  otherwise, 
from  15  to  25  is  the  age  when  ambition  is  at  its 
height,  and  all  attention  is  centered  on  the  accom- 
plishment of  one  interest,  one  ideal.  However,  cir- 
cumstances alter  situations,  and  many  worthy  am- 
bitions have  been  checked  and  delayed  by  counter- 
acting influences,  but  finally  the  opportunity  has 
come,  found  a  welcome  hand  and  led  to  success. 
Many  of  the  better  photoplayers,  especially  those 
portraying  special  character  parts,  such  as  old  maids 
and  bachelors,  and  elderly  types  of  different  moods, 
started  their  careers  after  the  age  of  30,  many  of 
them  having  had  no  experience  whatever. 


MOVING   PICTURE    ACTING 

VII.    PATIENCE,  PLUCK  AND  PERSEVERANCE,  PLUS 
AMBITION 

Extra  good  doses  of  the  three  P's — patience, 
pluck  and  perseverance — must  be  added  to  these 
qualifications,  and  topping  it  all  one  must  possess 
a  strong  determined  ambition  which  knows  no  dis- 
couragements. In  anything  you  undertake — 
whether  it  be  to  become  a  successful  photoplayer 
or  to  enter  any  other  profession — let  the  star  of 
hope  be  an  instigator  to  the  "keep  on  a-tryin' " 
habit,  and  when  dark  clouds  of  disappointment  in- 
terpose 'twixt  you  and  that  star,  when  ambition 
seems  in  vain  and  you  think  "Oh,  what's  the  use," 
tighten  the  screw  to  your  courage,  apply  a  little 
physical  "punch"  to  your  efforts  and  start  again. 
Cling  to  hope!  When  it  is  lost  your  ambition  be- 
gins to  melt  and  failure  is  the  inevitable  result. 


PART  IV 
TRAINING 

Having  sounded  the  subject  of  qualifications  and 
convinced  yourself  that  you  will  make  a  good  sol- 
dier, the  next  step  is  to  enter  training.  There  are 
some  methods  of  personal  study  and  practice  which 
assist  in  overcoming  the  disadvantages  and  em- 
barrassment usually  experienced  by  an  amateur 
when  seeking  to  lay  the  foundation  for  a  stage 
career.  One  of  the  most  important  among  these  is : 

I.    PHYSICAL  CULTURE 

This  subject  is  most  important  in  all  work, 
especially  in  the  field  of  histrionic  art.  It  not  only 
aids  in  attaining  physical  strength  and  good  health, 
but  it  results  in  grace  of  movement  and  motion  and 
unconscious  and  correct  attitudes  of  the  body.  If 
you  are  continually  conscious  of  your  hands,  your 
arms,  your  feet,  they  will  always  be  "in  your  way," 
so  to  speak.  You  will  be  awkward  in  posing  and 
lacking  in  that  grace  and  refinement  of  movement 
which  are  characteristic  of  the  finished  artist.  To 
acquire  this  grace  and  ease  in  a  general  way  de- 

34 


MISS  FRANCES  AGNEW,  AS  JESSICA,  SHYLOCK'S   DAUGHTER.  IN  SHAKE- 


MOVING   PICTURE   ACTING 

pends  entirely  upon  yourself.  You  may  attend 
physical  culture  classes,  enter  gymnasiums,  dance, 
fence  or  indulge  in  various  outdoor  sports  such  as 
tennis,  golf,  rowing,  etc.,  but  unless  followed  dili- 
gently your  efforts  are  of  little  avail.  Every  one, 
no  doubt,  has  taken  free-hand  exercises  as  a  part 
of  the  curriculum  of  school  work,  but  few  regard 
these  simple  little  exercises  of  any  importance.  Too 
much  cannot  be  said  of  the  value  of  such  a  system 
of  physical  training.  Exercises  which  involve 
stretching  and  bending  the  arms  and  legs,  relaxing 
the  wrist,  swaying  the  body  and  bending  the  trunk 
are  all  of  infinite  benefit  in  strengthening  and  de- 
veloping a  weak  physique,  and  of  just  as  vital  im- 
portance in  acquiring  graceful  movements  and  posi- 
tions. 

Practice  suggestions:  Such  simple  exercises  as 
turning  the  head  from  side  to  side  and  bending  it 
forward  and  backward;  rotating  the  shoulders, 
throwing  them  backward  and  forward,  tend  to  de- 
velop the  chest  and  strengthen  the  lungs.  Swinging 
and  raising  the  arms,  bending  at  the  elbows,  thrust- 
ing forward,  rolling  the  hand  at  the  wrist  and  shak- 
ing the  fingers  vigorously,  cannot  fail  to  give  to 
these  muscles  the  freedom  and  relaxation  which  are 
so  necessary  in  making  expressive  gestures.  Bend- 
ing left,  right,  forward  and  backward  at  the  waist, 
swaying  the  body  in  all  directions  (allowing  the 
arms  free  will  in  these  exercises)  relaxes  the 
whole  body,  strengthens  the  back  and  induces  cor- 

35 


MOVING   PICTURE    ACTING 

rect  standing  and  sitting  postures.  Raising  the 
leg  forward,  bent  at  the  knee,  and  thrusting  back- 
ward (straightening  the  leg  on  this  movement  and 
holding  the  body  firmly  erect)  is  one  of  the  sim- 
plest and  at  the  same  time  most  helpful  exercises 
to  be  practiced.  It  strengthens  and  gives  control 
over  the  muscles  of  the  lower  limbs  and  aids  in 
acquiring  grace  in  walking  the  stage  or  in  private 
life. 

From  these  general  exercises  is  evolved  an  infinite 
number  of  special  exercises,  all  tending  to  accom- 
plish the  same  results.  It  is  not  so  much  the  exer- 
cise itself,  however,  as  the  force  and  diligence  with 
which  it  is  taken — not  once,  but  many  times  every 
day.  With  a  feeling  that  such  simple  exercise 
amounts  to  nothing  and  is  but  a  waste  of  time,  am- 
bition soon  loses  itself  and  grows  lax  with  this  part 
of  its  development.  Hence  it  is  strongly  urged  that 
the  prospective  photoplayer  start  his  system  of, 
training  for  the  work  with  the  determination  to 
give  himself  a  careful  physical  education,  even  if 
it  becomes  necessary  to  make  his  daily  practice  of  at 
least  half  an  hour  as  strong  a  habit  as  his  daily 
meals.  Early  morning,  just  after  rising,  is  the  best 
time  for  this  practice.  For  the  majority,  however, 
this  is  inconvenient ;  but  surely  some  time  in  the  day 
will  furnish  a  half  hour's  leisure.  Even  if  you 
attend  a  gymnasium  with  all  its  benefits,  do  not 
neglect  these  free-hand  practice  exercises.  Not  only 
is  this  the  first  step  in  a  thorough  training  for  the 

36 


MOVING   PICTURE    ACTING 

stage,  but  its  results  are  most  essential  for  success 
in  every  walk  of  life. 

Dancing  and  fencing  do  much  to  acquire  grace 
and  ease  of  manner,  and  especially  is  a  knowledge 
of  the  former  of  vital  importance  in  histrionic 
work.  However,  they  are  in  themselves  but  other 
forms  of  physical  training,  and  until  the  opportunity 
for  such  study  is  placed  well  within  one's  reach 
the  time  should  be  utilized  in  free-hand  practice 
which  involves  no  expense  whatever.  Many  of  the 
best  known  artists  on  the  screen  to-day  know  nothing 
of  fencing — in  fact,  never  handled  a  sword,  unless 
it  may  have  been  in  the  portrayal  of  some  role  re- 
quiring the  use  of  this  property — and  also  can  do 
naught  but  social  dancing.  Yet  they  are  not  lacking 
in  that  essential  to  success — a  graceful  stage  pres- 
ence. 

The  result  of  this  physical  practice,  if  followed 
systematically,  is  oftentimes  little  short  of  magical. 
Awkward  mannerisms  are  enveloped  in  graceful  ex- 
pressive actions  through  which  is  discerned  what 
has  no  doubt  been  a  dormant  personality.  Physical 
self-control  paves  the  way  for  the  assertion  of  this 
personality.  Mentality  responds,  and  the  two  forces 
express  the  emotions  and  feelings  of  a  given  situa- 
tion. This  is  the  sum  total  of  photoplay  ing. 


MOVING   PICTURE   ACTING 

II.    BREATHING 

Why  touch  on  such  a  subject  in  connection  with 
photoplaying  ?  one  might  ask.  It  is  true  that  voice 
culture  is  not  important  in  this  work,  but  it  is 
equally  true  that  strong  well-developed  lungs  are 
essential  to  good  health,  and  good  health  is  one  of 
the  most  important  qualifications  for  success  in  any 
line  of  endeavor — perhaps  the  most  important. 

So,  in  passing,  it  is  not  amiss  to  urge  the  im- 
portance of  vocal  and  breathing  exercises  as  a  vital 
part  of  the  study.  Regular  breathing  practice  is 
a  habit  to  be  encouraged.  In  this  humdrum  world 
of  working-to-win  we  are  apt  to  neglect  this  part 
of  our  physical  machinery.  It  is  true  we  breathe 
without  thought  and  effort,  but  few  inhale  deeply 
and  exhale  correctly. 

While  practicing,  stand  with  the  weight  of  the 
body  on  the  balls  of  the  feet  with  the  toes  turned 
outward  at  an  easy  angle.  Always  inhale  through 
the  nose,  taking  sufficient  breath  to  perform  all  the 
uses  to  which  nature  puts  it.  Few  persons  inhale 
sufficient  to  keep  the  blood  pure.  One  of  the  best 
general  exercises  for  practice  is  taken  thus : 

When  standing  (or  seated,  if  preferred),  head 
and  shoulders  well  up,  back  unsupported  and  spine 
erect,  inhale  deeply  while  mentally  counting  ten, 
hold  the  breath  for  ten  counts,  then  expel  through 
the  lips,  again  counting  ten  for  the  exhaling.  Re- 

38 


S3 


MOVING   PICTURE   ACTING 

peat  this  while  taking  some  simple  arm  exercises, 
also  exhaling  on  the  vowel  sound  "ah"  pitched  on 
all  the  tones  of  the  voice  consecutively.  Exhaling 
on  all  the  other  vowel  sounds  is  equally  good  prac- 
tice. 

Always  practice  vocal  exercises  in  a  freely  ven- 
tilated room,  preferably  before  an  open  window  or 
outdoors  in  dry  weather  conditions.  The  results 
of  your  practice  will  be  astounding.  The  chest 
and  lungs  will  be  developed,  the  blood  purified, 
catarrhal  and  throat  afflictions  materially  alleviated, 
and  your  health  and  vitality  in  every  way  im- 
proved. 

Remember  also  that  Thos.  A.  Edison,  the  genius, 
has  just  perfected  what  he  considers  his  most  won- 
derful invention — the  talking  moving  picture  ma- 
chine. These  "talking  movies"  are  now  being  ex- 
hibited. The  acting  is  practically  the  same  as  on 
the  legitimate  stage,  the  camera  photographing  the 
actions  and  the  talking  machine  recording  the  voice 
simultaneously.  It  is  obvious  that  the  voice,  its 
resonance  and  adaptability  to  the  record  will  be 
the  first  consideration,  and  the  second,  one's  type 
and  ability  as  a  photoplayer.  Hence  those  "movie" 
actors  and  actresses  who  have  a  strong  healthy 
physique  and  a  good  clear  speaking  voice,  developed 
by  breathing  and  vocal  exercises,  will  have  an  ad- 
vantage over  those  who,  while  possessing  the  voice 
perhaps,  are  lacking  in  ability. 

Every  effort  to  become  a  better  player  and  round 

39 


MOVING   PICTURE    ACTING 

out  your  art  is  a  step  toward  the  coveted  goal  of 
success,  though  you  may  not  be  able  to  see  it  in  just 
this  way  in  the  beginning  of  your  career. 


III.    FACIAL  EXPRESSION  AND  PANTOMIME 
PRACTICE 

Facial  expression  is  perhaps  the  most  important 
part  of  photoplaying.  It  is  an  art  within  itself. 
The  scenes  and  actions  alone  do  not  tell  the  minute 
details  of  the  story.  After  all  is  said  and  done  the 
eyes  are  really  the  focus  of  one's  personality  in 
photoplaying.  With  the  aid  of  other  facial  features 
they  can  express  almost  all  the  emotions  and  pas- 
sions felt  by  a  human  soul.  These  expressions  can- 
not be  taught  or  merely  assumed.  It  is  not  enough 
to  say  that  the  brows  contract,  eyes  glare  and  lips 
are  pressed  together  in  anger,  or  the  eyes  are  opened 
wide  with  the  semblance  of  a  twinkle  in  the  corners 
and  a  smile  on  the  lips  in  surprise  with  pleasure,  or 
the  wide-open  eyes  stare  into  space  and  the  lips 
slightly  open  to  express  surprise  with  fear,  or  a 
mournful  look  in  the  depths  of  the  eyes,  the  mouth 
drooping,  denotes  grief  and  despair,  or  the  eyes  are 
dancing  and  the  face  is  lit  with  a  sunny  smile  in 
excited  enjoyment  or  rejoicing.  These  are  merely 
principles  for  expressions  which  have  no  depth  of 
sincerity  unless  impelled  by  intense  feeling. 

A  good  method  of  study  and  practice  (always 
40 


MOVING   PICTURE    ACTING 

before  a  mirror,  so  as  to  follow  your  own  progress 
in  clear  expression)  is  thus : 

First,  think  of  some  simple  story  or  create  an 
original  plot  for  yourself,  making  the  principal 
character  your  own  type.  The  story  is  to  be  told 
by  the  expressions  of  the  face  and  the  attitudes  of 
the  body. 

Next,  jot  down  the  various  emotions  and  senti- 
ments felt  by  the  principal  character  and  analyze 
within  your  own  mind  why.  Then  picture  to  your- 
self mentally  the  actions  which  would  lead  up  to 
this  emotion  if  the  plot  were  actually  unfolded  on 
the  screen. 

This  should  awaken  within  you  the  very  feeling, 
almost,  of  the  character  and  enable  you  to  portray 
in  practice  this  principal  role  throughout  the  dif- 
ferent scenes,  imagining  the  other  characters  and 
your  stage  settings.  The  value  of  such  pantomimic 
study  and  practice  cannot  be  overestimated. 

This  practice  is  similar  to  a  most  important 
feature  of  the  prescribed  course  of  study  in  the 
leading  dramatic  schools,  both  in  the  legitimate  and 
motion  picture  departments.  It  is  recognized  as 
an  independent  training.  Of  course,  it  is  difficult 
for  one  character  alone  to  convey  the  plot,  but  some 
idea  of  the  thought  in  mind  can  be  gained  by  the 
student's  expressions,  poses  and  movements,  and 
his  ability  is  judged  accordingly. 

Below  is  given  a  list  of  the  emotions  and  senti- 
ments which  find  portrayal  in  the  expressions  of  the 


MOVING   PICTURE   ACTING 


face  and  the  actions  and  attitudes  of  the  body  when 
the  player  is  in  full  sympathy  with  the  story  and 
feels  the  part  he  is  conveying: 


Rejoicing 

Enjoyment  with  excitement 

Determination 

Anger  with  control 

Petulance 

Patience 

Surprise  with  pleasure 

Surprise  with  pain 

Surprise  with  fear 

Excitement  with  anger 

Kindly  reproof 

Angry  reproof 

Grandeur 

Pride 

Arrogance 

Defiance 

Begging 

Courage 

Hatred 

Love 

Eagerness 


Ecstasy 

Melancholy 

Dignity 

Flippancy 

Tenderness  with  pity 

Tenderness  with  love 

Hopefulness 

Sympathy 

Kindness 

Cruelty 

Pathos 

Grief 

Despair 

Agony 

Suspicion 

Threatening 

Indignation 

Caution 

Anxiety — peevish 

Anxiety — a  mother's 

Madness 


Taking  each  of  these  emotions  separately,  think 
of  some  sentence  or  lines  cloaking  that  emotion,  and 
the  pose  then  taken  should  be  the  result  of  the 
feeling  awakened  by  this  thought  and  your  sym- 

42 


MISS  GWENDOLINE  PATES,  A  LEADING  LADY  WITH  THE  PATHE  FRERES  CO. 


MOVING   PICTURE    ACTING 

pathy  with  its  meaning.  Notice  particularly  your 
facial  expression  in  these  attitudes.  Many  of  the 
emotions  above  can  be  clearly  expressed  by  the  eyes 
and  other  features  alone. 

Get  in  sympathy  with  your  subject,  practice  in 
this  way  and  you  will  be  amazed  at  the  results 
and  the  force  and  control  gained  over  the  art  of 
expression. 

IV.    OBSERVATION 

The  school  of  observation  is  among  the  best  one 
can  attend.  Follow  its  principles  in  every  part  of 
your  daily  life.  When  watching  a  photoplay,  do 
not  merely  enjoy  its  story  and  the  unraveling  of 
its  plot,  but  take  from  the  actors  portraying  it 
lessons  which  will  be  of  vital  assistance  to  you  in 
your  personal  training.  Note  the  grace  of  move- 
ment, walking,  rising,  sitting,  bowing,  management 
of  trains,  etc.,  handling  of  objects  on  the  stage, 
etc.  Take  an  idea  or  situation  from  the  play  and 
later  practice  its  portrayal  yourself,  but  do  not  imi- 
tate. In  imitation  one  loses  individual  touches  and 
personality.  Strive  for  originality,  practice  dili- 
gently and  remember: 

"The  more  we  work,  the  more  we  win." 


43 


PARTY 

HOW  A   MOTION   PICTURE   ENGAGEMENT 
IS   OBTAINED 

If  the  "stage-struck"  one  lives  in  or  near  New 
York  he  probably  knows  from  hearsay  something 
of  the  opportunities  of  this  work.  If  he  is  so  un- 
fortunate— or  shall  we  say,  so  very  fortunate — as 
to  be  distantly  removed  from  the  Great  White  Way 
undoubtedly  he  knows  little  or  nothing  of  the  busi- 
ness end  of  motion  picture  acting. 

Though  some  openly  affirm  that  it  is  impossible 
to  become  a  photoplayer  without  having  had  pre- 
vious professional  experience  on  the  legitimate 
stage,  yet  the  fact  that  there  are  to-day  many  suc- 
cessful photoplayers  who  had  no  previous  training  or 
experience  whatever  disproves  this  assertion.  Their 
natural  abilities  and  talent,  coupled  with  an  alert 
sense  of  study  by  observation,  etc.,  enabled  them 
to  go  on  the  "picture  stage"  immediately. 

Naturally  these  players  did  not  begin  as  "leads." 
Few  do,  either  in  legitimate  or  picture  work. 
Whenever  an  actor  or  actress  starts  at  the  top,  those 
on  the  inside  of  theatrical  circles  are  quick  to  as- 
sert, possibly  with  a  tinge  of  jealousy  or  merely 
the  repetition  of  Dame  Rumor,  "Oh,  he's  in  all 

44 


MOVING    PICTURE    ACTING 

right — got  influence,"  or  "Well,  why  shouldn't  she, 
when  she's  got  a  pull?"  This  is  one  of  the  weak- 
nesses of  human  nature  and  will  always  be  thus. 
However,  those  who  do  start  at  the  top  are  very 
few  and  far  between  and  cannot  be  taken  as  ex- 
amples. 

THEATRICAL  AGENCIES 

In  practically  every  line  of  work  there  are  em- 
ployment agencies  which  make  a  business  of  filling 
outside  positions  in  return  for  a  certain  share  of 
the  salary  earned  by  the  successful  applicant. 
Some  agencies  demand  a  fee  for  registration,  but 
this  usually  applies  to  those  furthering  the  interests 
of  business,  not  "art."  Few  theatrical  agencies  ask 
more  than  one-half  of  the  second  week's  salary,  or, 
its  equivalent,  five  per  cent,  of  the  salary  earned 
for  ten  weeks.  The  latter  form  of  payment  is  cer- 
tainly more  convenient  to  the  player.  Then,  too, 
some  engagements,  especially  in  the  legitimate  (and 
it  has  been  known  in  picture  work,  too),  are  so 
unfortunate  as  to  be  of  less  than  ten  weeks'  dura- 
tion, due  perhaps  to  the  failure  of  the  company  or 
the  failure  of  the  player  to  "make  good,"  and  in 
that  event  the  full  commission  is  not  due. 

In  "The  Windy  City  of  the  West,"  Chicago, 
which  is  rapidly  becoming  a  producing  center,  there 
are  many  theatrical  agencies,  and  one  or  two  here 
and  there  in  the  larger  cities  of  the  country,  but 

45 


MOVING   PICTURE    ACTING 

the  majority  of  them  are  located  on  THE  Broad- 
way in  New  York  City — the  real  center  of  all 
amusement  interests. 

In  times  past  theatrical  agencies  had  nothing  to 
do  with  picture  work.  However  much  they  may 
have  desired  the  commissions,  yet,  following  the  ex- 
ample then  set  by  the  legitimate  managers,  they 
scoffed  at  the  idea  of  placing  "artists"  with  a  film 
company.  They  became  haughtily  indignant  when- 
ever a  "hard-up"  actor,  with  poor  prospects,  even 
suggested  such  a  step.  The  players  were,  there- 
fore, engaged  by  the  picture  producers  direct,  fre- 
quently through  newspaper  ads.  Now,  however, 
with  the  complete  change  which  public  opinion  has 
undergone  in  its  attitude  toward  motion  pictures 
in  general,  there  has  come  a  similar  change  in  the 
stand  taken  by  the  legitimate  managers  of  first 
rank  and  by  their  near  neighbors  in  the  business,  the 
agencies.  Managers  are  no  longer  averse  to  engag- 
ing actors  and  actresses  who  have  taken  a  plunge 
into  picture  work  and  agencies  are  likewise  ready 
and  willing  to  accept  the  business  and  furnish  the 
players  from  their  seemingly  infinite  list. 

A  splendid  evidence  of  this  is  the  recent  con- 
tract made  by  Mr.  David  Belasco,  the  world-famous 
dramatic  manager,  with  Miss  Mary  Pickford,  lov- 
ingly known  -all  over  the  country  as  "Little  Mary," 
formerly  star  with  the  Biograph  and  the  Imp  Com- 
panies— by  which  Miss  Pickford  was  to  leave  the 
pictures  for  a  time  at  least  and  appear  as  "Juliet," 

46 


MOVING    PICTURE    ACTING 

the  little  blind  girl,  in  his  fairy  play  production, 
"A  Good  Little  Devil,"  one  of  the  biggest  Broad- 
way successes  of  the  season  of  1912-1913. 

Mr.  Belasco's  decision  to  secure  Miss  Pickford's 
signature  to  a  contract  covering  her  appearance 
in  this  production  was  the  result  of  his  impressions 
after  seeing  her  on  the  screen  in  one  of  the  Biograph 
releases.  Her  salary  in  motion  pictures  was  re- 
ported to  be  $12,500  a  year,  or  an  average  of  $250 
a  week,  and  she  is  said  to  have  accepted  Mr. 
Belasco's  offer  because  it  meant  an  even  better 
opportunity  financially  and  otherwise.  In  its  criti- 
cism of  the  production,  The  Theatre  Magazine, 
February,  1913,  issue,  stated:  "If  Mary  Pickford, 
who  plays  the  blind  little  girl,  is  a  product  of  'the 
movies,'  then  commend  us  to  the  photoplay  posing 
as  a  school  for  acting.  Contrary  to  expectations 
her  facial  expression  was  restrained  rather  than 
overemphatic  and  her  diction  was  rarely  fine." 

The  attitude  of  the  managers  is  best  conveyed 
by  the  interest  which  Mr.  Daniel  Frohman  has 
taken  in  motion  pictures.  Some  time  ago  Mr. 
Frohman  was  quoted  as  saying : 

"I  can't  see  why  a  dip  into  the  moving  picture 
business  should  hurt  any  good  actor.  This  outcry 
against  the  new  business  seems  to  me  much  like  the 
fuss  made  over  vaudeville  when  it  was  a  new  thing, 
fifteen  or  twenty  years  ago. 

"When  the  old  time  variety  acts  were  baptized 
vaudeville — a  good  name  because  nobody  knew 

47 


MOVING   PICTURE   ACTING 

what  the  word  meant  then  and  most  people  have 
respect  for  what  they  don't  understand — it  was  said 
that  no  real  artist  would  ever  descend  to  vaudeville. 
"Look  at  the  situation  now.  Almost  any  artist 
will  now  go  into  vaudeville  if  the  terms  are  big 
enough,  and  when  the  player  wants  to,  he  or  she 
may  return  to  the  legitimate  stage  work  and  find 
as  warm  a  welcome  as  ever.  Miss  Rose  Coghlan, 
Messrs.  W.  H.  Thompson,  Robert  Hilliard  and  a 
lot  of  others  here,  with  Mme.  Sarah  Bernhardt, 
Mme.  Re  jane  and  Lady  Beerhohm  Tree  on  the 
other  side,  have  played  in  vaudeville  and  some  day 
may  play  in  moving  pictures." 

(In  passing,  it  is  interesting  to  note  that  so  far 
as  Mme.  Bernhardt  and  Miss  Rose  Coghlan  are 
concerned  his  prophecy  has  already  proved  true. 
Miss  Coghlan  recently  appeared  as  "Rosalind"  in 
the  Vitagraph  Company's  feature  film  of  Shake- 
speare's comedy  "As  You  Like  It,"  while  the 
world's  greatest  actress,  Mme.  Sarah  Bernhardt,  is 
delighting  and  mystifying  the  world  itself  by  her 
wonderful  acting  of  favorite  characters  which  she 
has  played  for  the  screen.) 

Thus  Mr.  Frohman  not  only  approves  of  legiti- 
mate players  "dipping"  into  motion  picture  work, 
but  the  fact  that  he  has  given  up  his  personal  in- 
terest in  legitimate  productions  and  is  now  an  im- 
portant figure  ifi  the  motion  picture  business,  being 
one  of  the  organizers  and  moving  spirits  of  The 
Famous  Players  Film  Company,  featuring  the  pic- 
tures of  Mme.  Bernhardt  and  other  renowned 

48 


MOVING   PICTURE   ACTING 

artists,  is  proof  positive  that  he  regards  the  in- 
dustry as  a  vital  component  of  the  amusement 
world  of  to-morrow  as  well  as  of  to-day.  This  is 
the  attitude  taken  by  many  of  the  other  high-class 
legitimate  managers  as  well  as  the  agencies. 

These  latter  mediums,  both  dramatic  and  musical, 
are  conducted  along  similar  lines.  An  agency  con- 
sists of  one,  two,  three  or  more  rooms,  according 
to  its  financial  responsibility,  or  perhaps  according 
to  the  extent  of  its  faith  in  advertising.  Many  con- 
cerns are  prone  to  believe  that  much  space  in  a 
large  office  building  gives  the  impression  of  big 
business,  and  while  this  may  be  an  expensive  way 
of  placing  your  wares  before  the  world,  yet  we 
must  admit  that  advertising  in  any  form  should 
and  does  pay  to  a  certain  extent.  Suffice  it  to 
say,  however,  few  of  the  high-class  agencies  can 
be  said  to  do  business  in  a  "hole  in  the  wall."  The 
majority  of  them  have  nicely  furnished  offices,  both 
public  and  private.  They  have  what  might  be 
called  a  "Consultation  Room"  in  which  Dr.  Man- 
ager or  Director  interviews  the  "patient"  applicant ; 
they  have  the  private  offices  of  the  owner  of  the 
agency  in  which  are  kept  records  of  business,  and 
last,  but  not  least,  the  "outside"  room  in  which 
applicants  may  take  a  seat — if  they  happen  in  on 
those  rare  occasions  when  it  is  not  crowded — or 
stand,  and  await  their  turn  to  be  interviewed.  In- 
cidentally the  beginner  can  gain  a  deal  of  valuable 
information  from  the  conversation  overheard  in 

49 


MOVING   PICTURE    ACTING 

these  waiting  rooms.  It  is  most  interesting,  though 
frequently  pitiful,  to  listen  to  the  stories  (some 
of  them  hard-luck  tales)  of  both  photo  and  legiti- 
mate players.  What  is  truer  than  one  could  imagine 
and  most  difficult  to  understand  is  the  fact  that 
even  all  this  fails  to  discourage  real  ambition — 
which  is  as  it  should  be !  The  one  who  "gets  there" 
is  the  one  who  "sticks,"  and  these  experiences  of 
others,  however  bitter  they  may  be,  should  serve 
to  separate  the  goats  from  the  sheep — to  utterly 
discourage  and  weed  out  those  who  are  entirely 
unfit  for  the  work,  and  to  bring  into  the  minds  of 
those  really  qualified  more  serious  thoughts  of  their 
undertaking,  since  it  is  to  be  "playing"  which  will 
mean  work,  hard  work,  and  not  all  pleasure  and 
happiness. 

Since  many  of  the  motion  picture  artists  are 
now  placed  through  the  agencies,  all  players  readily 
realize  that  their  assistance  is  invaluable  and  it  is 
well  to  register  with  them.  Among  the  most  im- 
portant dramatic  and  musical  agencies  in  New  York 
City,  who  are  licensed  to  secure  engagements  for 
players  and  players  for  engagements,  are  the  fol- 
lowing : 

Betts  &  Fowler. ., 1402  Broadway 

Packard  Exchange. .  . ., 1416  Broadway 

Bijou  Fernandez 214  West  42nd  St. 

Chas.  A.  Goettler 1482  Broadway 

Paul  Scott ,. . .  1402  Broadway 

50 


MOVING   PICTURE   ACTING 

see  me  again."  This  same  answer  greets  you  on 
your  next  visit  and  perhaps  your  next  and  next, 
unless  it  is  the  busy  season  and  he  has  calls  from 
managers  or  directors  for  your  type  of  player;  but 
"never  a  lane  without  a  turning,"  and  to  any  one 
who  has  not  the  patience  to  stand  these  disappoint- 
ments the  theatrical  ladder  will  be  an  almost  infinite 
height,  and  he  is  best  off  before  he  seeks  to  climb  it. 

This  is  but  one  path  to  tread  in  seeking  an  en- 
gagement as  a  photoplayer.  Another  more  suc- 
cessful method  is  to  appeal  direct  to  the  film  com- 
panies themselves. 

Every  company  has  its  general  director  or  super- 
visor, and  two,  three,  four  or  more  subdirectors, 
including  those  assigned  to  comedy  subjects  only, 
and  those  whose  specialty  is  dramatic  work.  All 
permanent  or  stock  players  engaged  are  subject  to 
the  approval  of  the  supervisor  after  he  has  seen 
the  player's  work  on  the  screen,  but  trial  engage- 
ments are  made  by  the  subdirector  who  uses  the 
players  thus  employed  for  parts  in  the  particular 
photoplays  consigned  to  him  for  production.  These 
directors,  as  a  matter  of  fact,  usually  select  the 
entire  casts  for  their  respective  plays.  If  the  cast 
is  a  small  one  it  is  selected  from  the  regular  stock 
company — those  players  who  hold  a  contract  with 
the  management,  stipulating  a  certain  weekly  com- 
pensation, regardless  of  the  number  of  days  they 
work.  Their  services,  however,  are  at  the  com- 
mand of  the  director  daily,  though  unforeseen  cir- 

52 


MOVING   PICTURE   ACTING 

cumstances,  such  as  inclement  weather,  an  exceed- 
ingly small  cast  production,  etc.,  frequently  give 
such  players  an  occasional  "day  off,"  though  their 
salaries  continue  the  same,  if  under  contract. 

The  number  of  players  carried  in  the  stock 
organizations  differ  with  the  various  film  com- 
panies. Some  have  as  many  as  thirty  or  more  on 
the  regular  list,  both  at  the  principal  studio  and 
in  the  western  headquarters.  Such  a  company  in- 
cludes five  or  six  emotional  and  ingenue  leads 
(actresses) ;  about  the  same  number  of  leading 
actors;  three  or  four  "heavies"  (both  actors  and 
actresses)  (this  type  is  sometimes  called  the  villain 
of  the  play)  ;  three  or  four  character  artists;  two 
children  for  juveniles,  and  half  a  dozen  or  more 
minor  players  who  serve  for  general  business,  play- 
ing various  parts  requiring  some  versatility.  Other 
companies  have  perhaps  ten  or  fifteen  only  in  each 
stock  organization,  especially  when  playing  in  the 
New  York  studio.  Some  companies  have  only  one 
stock  organization,  including  both  the  comedy  and 
dramatic  players  in  each  location.  Others  have 
separate  stocks,  one  for  comedy  subjects,  another 
for  dramatic  work,  each  set  of  players  working 
under  the  supervision  of  the  corresponding  director. 

JOBBING 

Many  of  the  photoplays  produced  to-day  require 
larger  casts  than  the  regular  stock  covers,  and  thus 

53 


MOVING   PICTURE   ACTING 

require  the  services  of  many  extra  people.  These 
players  are  employed  for  what  is  known  as 
"jobbing,"  which  is  similar  to  "suping"  on  the 
legitimate  stage,  though  a  far  more  important  call- 
ing and  one  which  is  followed  in  New  York  con- 
stantly by  many  most  excellent  actors  and  ac- 
tresses who  have  no  desire  to  work  into  the  regular 
stock  organizations.  They  are  content  to  play  with 
the  different  companies,  deriving  a  varying  income 
as  a  result — the  amount  ranging  from  $15.00  to 
$40.00  a  week,  according  to  the  productions  and 
weather  conditions. 

The  largest  film  companies  are  located  in  or 
near  New  York,  Chicago  and  Philadelphia,  and 
also  in  the  far  West,  California  particularly,  the 
latter  companies  having  nothing  but  a  business 
office  in  the  East.  These  companies,  as  stated 
before,  employ  regular  stock  organizations  at  their 
principal  studios  and  also  maintain  western  head- 
quarters and  studios  in  California  near  the  Pacific 
Coast.  In  addition  to  this,  other  stock  organiza- 
tions are  formed  and  sent  out  from  both  eastern 
and  western  headquarters  to  find  new  scenery  and 
atmosphere  in  various  sections  of  the  globe — south 
to  Florida  and  Mexico,  west  to  Colorado  and 
among  the  Rockies,  and  north  to  British  Columbia, 
Alaska  and  Canada.  These  companies,  too,  require 
the  services  of  extra  players,  and  it  is  frequently 
possible  for  a  talented  aspirant  living  in  the  neigh- 
borhood of  such  a  company's  location  to  thus  lay 

54 


MOVING   PICTURE    ACTING 

the  foundation  for  a  successful  career.  However, 
Greater  New  York  City  is  the  center  of  all  such 
interests,  and  sincere  ambition,  determination  and 
patience  will  eventually  lead  to  that  point. 

In  the  beginning  the  scenario  or  plot  of  the  photo- 
play is  accepted  and  reconstructed  by  the  editor. 
He  then  submits  it  to  the  supervisor,  who  consigns 
the  production  to  one  of  the  subdirectors  and  he  in 
turn  is  held  largely  responsible  for  its  success.  He 
must  accept  suggestions  from  the  supervisor  re- 
garding any  detail  connected  with  the  production, 
but  he  is  usually  given  full  authority  so  far  as  the 
cast  is  concerned  and  it  devolves  upon  him  to  select 
from  the  almost  infinite  list  on  hand  those  players 
who  are  the  types  for  the  extra  or  jobbing  parts. 

Thus,  the  best  method  to  pursue  in  seeking  an 
engagement  as  a  photoplayer  is  to  apply  to  the 
various  studios  in  person,  if  possible,  on  the  special 
day  set  apart  for  registration,  or  whenever  most 
convenient — meeting  the  gentleman  whose  duty  it 
is  to  see  the  players,  note  their  types  and  advise  the 
directors  of  promising  photoplayers.  A  visit  to 
the  studio  might  also  give  you  an  opportunity  to 
interview  the  directors  personally.  You  then  file 
a  photograph  and  card,  giving  personal  informa- 
tion such  as  name,  address,  phone  number  (if  in 
the  same  locality),  age,  height,  weight,  color  of 
hair,  eyes  and  complexion;  your  measurements  are 
also  taken,  to  be  followed  by  the  company  in  fitting 
you  with  costumes  for  feature  productions. 

55 


Or,  if  not  possible  to  call,  a  personal  letter  ad- 
dressed to  the  film  company  in  which  you  are  most 
interested — inclosing  a  photograph,  personal  de- 
scription as  above,  and  some  general  facts  regard- 
ing individual  circumstances — together  with  a  self- 
addressed  stamped  envelope  for  reply — will  usually 
bring  you  the  advice  and  opinion  of  the  company 
as  to  your  availability  for  the  work  and  your 
chances  for  success  as  a  photoplayer.  You  may  be 
the  type  for  some  particular  line  of  parts,  and  for 
this  reason  secure  the  interest  of  the  film  company, 
inducing  them  to  give  you  a  trial  engagement  at  a 
later  opportunity,  all  circumstances  considered 
favorable. 

Your  application  to  the  film  company  thus  places 
you  on  their  list  of  available  players  and  puts  you 
in  line  for  a  possible  opportunity  to  job,  which  is 
the  first  step  toward  a  permanent  engagement  with 
the  regular  stock  organization. 

The  principal  film  companies  throughout  the 
country  are  as  follows : 

NEW  YORK  CITY: 

Ammex  Film  Co.  (office),  145  West  45th  St 
*Biograph  Company,  n  East  I4th  St. 
Comet  Film  Co.,  344  East  32nd  St. 
Thomas  A.  Edison  (Inc.),  2826  Decatur  Ave., 

Bedford  Park. 

General  Publicity  and  Sales  Co.,  145  West  45th 
St. 

56 


MOVING    PICTURE    ACTING 

Great  Northern  Co.,  7  East  I4th  St. 

Helen  Gardner  Motion  Picture  Co.,  145  West 

45th  St. 

*Kalem  Company,  235  West  23rd  St. 
Lux  Film  Co.,  10  East  I5th  St. 
*Melies  Company,  204  East  38th  St. 
Majestic  Motion  Picture  Co.,  540  West  2ist  St. 
Reliance  Film  Co.,  540  West  2ist  St. 
Republic  Film  Co.,  145  West  45th  St. 
Kinemacolor  Co.,  1600  Broadway. 
Keystone  Co.  (office),  42nd  St.  and  Broadway. 
Kay-Bee  Co.   (office),  42nd  St.  and  Broadway. 
Universal  Co.,  Broadway  and  48th  St.  (including 
the  following,  but  all  communications  should 
be  addressed  to  the  Universal  Co.  direct)  : 
Ambrosio  American  Co.,  15  East  26th  St., 

N.  Y. 

Bison  101,  Hollywood,  California. 
Champion  Co.,  145  West  45th  St.,  N.  Y. 
Eclair  Co.,  Fort  Lee,  N.  J. 
Crystal   Co.,    Wendover   and   Park   Aves., 

N.  Y. 

Gem  Co.,  Coytesville,  N.  J. 
Imp  Co.,  515  West  56th  St.,  N.  Y. 
Nestor  Co.,  Hollywood,  California. 
Powers  Co.,  422  West  2i6th  St.,  N.  Y. 
Rex  Company,  573  Eleventh  Ave.,  N.  Y. 
Victor  Co.,  573  Eleventh  Ave.,  N.  Y. 


MOVING   PICTURE   ACTING 

NOT  IN  NEW  YORK: 
American  Film  Co.,  5th  floor,  Ashland  Block, 

Chicago,  111. 

Atlas  Co.,  414  Century  Bldg.,  St.  Louis,  Mo. 
Broncho   Film  Co.,    1712   Allesandro   St.,   Los 

Angeles,  Cal. 
*Cines  Co.,  Geo.  Kleine,  166  N.  State  St.,  Chicago, 

111. 
*Essanay    Film    Mfg.    Co.,     1333    Argyle    St., 

Chicago,  111. 

Gaumont  Company,  Flushing,  N.  Y. 
Gene  Gauntier  Co.,  737  Tallyrarid  Ave.,  Jackson- 
ville, Fla. 
Kinemacolor  Co.,  4500  Sunset  Boulevard,  Los 

Angeles,  Cal. 
*Lubin  Mfg.   Co.,   2Oth   St.   and  Indiana  Ave., 

Philadelphia,  Pa. 

Monopol   Company,    1339   Gordon    St.,    Holly- 
wood, Cal.  (Office,  145  West  45th  St.,  N.  Y.) 
*Pathe    Freres,     i     Congress    St.,    Jersey    City 

Heights,  N.  J. 
Pilot  Film  Corporation,  120  School  St.,  Yonkers, 

N.  Y. 
*Selig    Polyscope    Co.,    20    E.    Randolph    St., 

Chicago,  111. 

Solax  Company,  Fort  Lee,  N.  J. 
Thanhouser  Co.,  New  Rochelle,  N.  Y. 
*Vitagraph  Co.,   E.    I5th  St.  and  Locust  Ave., 
Brooklyn,  N.  Y. 

NOTE.— Of  the  above  those  marked  •  are  licensed  companies;  the  others  independent. 

58 


MOVING   PICTURE    ACTING 

TYPES 

Scene:  A  manager's  office.  Stern  manager,  in 
brief  monosyllabic  conversation  with  ambitious 
actor  (or  actress)  who  stands  cringing  before  the 
mogul,  "putting  up"  a  good  plea  for  some  particular 
part  in  a  particular  play  of  which  he  has  heard,  or 
perhaps  seeking  an  engagement  in  a  feature  film 
to  be  made.  He  is  sure  he  can  play  the  part  and 
makes  an  earnest  effort  to  so  convince  the  manager 
or  director.  That  worthy  personage,  however,  gives 
one  glance  at  the  aspirant,  and  with  a  wave  of  his 
hand  he  brings  the  brief  interview  to  an  abrupt  end 
by  saying :  "Sorry,  but  you're  not  the  type  for  the 
part.  You  might  come  back  and  see  me  again. 
There  may  be  something  later." 

Oh,  that  word  "type"!  In  days  of  yore,  an 
artist  was  always  an  artist.  By  the  aid  of  make-up 
and  artistic  temperament  a  young  man  or  woman 
played  a  character  many  years  his  senior,  or  an 
older  player  was  likewise  considered  capable  of  giv- 
ing an  artistic  youthful  characterization.  The  ad- 
vancing years,  however,  have  changed  this  opinion. 
To-day  the  cry  of  the  managers  is  for  types ;  a  child 
must  be  played  by  a  child,  sweet  sixteen  must  be 
sweet  sixteen,  not  only  in  years,  but  in  appearance 
"off  stage"  as  well  as  on;  the  stage  mother,  aunt, 
old  maid,  etc.,  must  be  played  by  actresses  possess- 
ing the  appearance  in  private  life;  the  handsome 
hero,  the  gallant  old  gentleman — each  must  look  the 

59 


part  to  a  certain  extent  when  engaged.  Managers 
are  fully  aware  that  facial  make-up  is  a  marvelous 
aid.  By  its  intelligent  use  a  complete  change  in 
appearance  is  possible.  It  is  a  wonderful  disguise. 
There  are  other  ways,  too,  classed  under  the  sub- 
ject of  "make-up,"  by  which  a  small  or  large 
physique  can  be  changed  to  suit  the  character.  A 
striking  physique  or  a  bent  withered  figure  is  at- 
tained by  skillful  padding  and  costuming.  Of 
course,  it  is  necessary  in  the  creation  of  some 
characters  to  adhere  to  these  old  methods,  but  for 
the  most  part  managers  to-day  demand  "types." 

While  it  is  a  great  asset  to  the  legitimate  stage 
to  have  each  character  played  by  that  distinct 
"type,"  if  that  type  is  also  an  artist,  yet  it  is  far 
more  important  in  photoplays.  The  camera  is  so 
accurate  that  every  little  detail  counts.  Hence  the 
film  companies  find  it  more  satisfactory  to  keep  on 
file  a  photograph  of  each  applicant  for  an  engage- 
ment and  thus  when  casting  a  new  picture  the  direc- 
tor has  access  to  these  photographs,  judges  the  ap- 
plicant accordingly,  picks  his  "types,"  and  then 
phones,  telegraphs  or  occasionally  writes  the  player 
that  he  or  she  can  work  in  the  new  picture. 

Thus  your  opportunity!  Sometimes  it  takes 
weeks  and  months  to  secure  it.  This  depends  on 
many  things — your  own  photo,  the  demand  for  your 
type  of  player  or  the  cast  required  for  the  different 
photoplays.  However  it  may  be,  once  your  op- 
portunity comes  and  is  grasped  by  you,  your  future 

60 


MOVING    PICTURE    ACTING 

success  or  failure  lies  in  a  large  measure  in  the 
hollow  of  your  hand.  Patient  attentiveness  to 
every  detail,  every  minute  instruction,  and  careful 
observation  at  all  times  will  do  much  to  further 
any  career,  and  these  qualities  are  especially  es- 
sential in  the  moving  picture  studio,  once  you  have 
gained  access  to  one  of  these  most  interesting  and 
fascinating  workshops. 


61 


PART  VI 
SALARIES    OF  MOTION   PICTURE   PLAYERS 

Naturally  the  most  important  point  to  be  con- 
sidered, aside  from  the  fame  resulting  from  a  career 
on  the  screen,  is  the  financial  reward  it  brings.  In 
comparison  with  many  other  professions  the  salaries 
on  the  legitimate  stage  are  small  fortunes — at  least 
to  some — but  the  salaries  of  photoplay ers  are  even 
greater.  The  salary  itself  is  about  the  same  paid 
to  the  player  of  a  similar  line  of  parts  on  the 
legitimate  stage,  but  consider  the  difference  in 
seasons!  There  are  no  weeks  of  long  tedious  re- 
hearsals without  any  remuneration  whatever  and 
with  the  fear  of  failure  and  sudden  closing,  even 
after  only  one  performance,  if  the  play  does  not 
"get  over."  On  the  screen  stage,  rehearsals  are  a 
part  of  the  regular  work  covered  by  a  stipulated 
daily  or  weekly  salary.  The  motion  picture  artist 
has  a  profession  which  pays  him  a  guaranteed 
salary  all  the  year  round — 52  weeks — unless  he 
wishes  to  take  a  vacation,  and  this  is  usually  sub- 
ject to  his  own  volition.  In  comparison  with  the 
regular  legitimate  season  of  an  average  of  thirty 
weeks  (in  rare  cases  thirty-five  or  forty,  but  in 

62 


MISS   MIRIAM    NESBITT,   A   LEADING   LADY   WITH   THE   EDISON   CO. 


MOVING   PICTURE   ACTING 

many  instances  not  more  than  twenty  weeks),  think 
of  the  added  income  allotted  to  the  photoplayer 
whose  season  is  both  summer  and  winter,  with 
hardly  any  deviation  except  in  the  nature  of  the 
photoplays — the  summer  being  given  over  to  those 
requiring  more  woodland  or  exterior  scenes,  rather 
than  studio  sets. 

The  weekly  salaries  of  motion  picture  artists  in 
the  regular  stock  companies  range  from  $35.00  to 
$60.00  for  minor  players,  and  from  $75.00  to 
$250.00 — and  even  more  in  exceptional  cases — for 
the  leads  and  stars. 

The  beginner  or  one  engaged  on  trial  or  for  a 
minor  part  in  a  large  cast  production  receives  from 
$2.50  to  $10.00  each  day  he  plays  in  the  pictures. 
From  this  position  he  graduates  into  the  guaranteed 
class — that  is,  one  of  a  number  of  players  who 
hold  a  "guarantee"  contract  with  the  company  stip- 
ulating employment  for  two,  three,  four  or  five  days 
weekly  at  a  specified  daily  compensation  of  from 
$5.00  to  $10.00.  If  their  services  are  needed  for 
more  than  the  guaranteed  number  of  days  the  ad- 
ditional time  means  extra  salary  in  the  pay  envelope 
— the  stipulated  remuneration  for  each  day  over 
the  guarantee.  For  instance,  a  player  holding  a 
four-day  guarantee  contract  at  the  minimum  rate  of 
$5.00  a  day  receives  $20.00  a  week.  If  his  services 
are  required  for  an  additional  day,  or  two  days 
perhaps,  to  complete  a  picture  begun  under  the 
guarantee,  this  adds  $5.00  or  $10.00  (or  more  ac- 

63 


MOVING   PICTURE   ACTING 

cording  to  the  fixed  rate)  to  his  amount  for  that 
week. 

The  next  step  up  is  to  a  position  as  one  of  the 
regular  stock  company,  thus  ranking  in  the  $35.00 
to  $60.00  class.  Then  as  the  player  adds  to  his 
experience,  becomes  identified  with  the  productions 
of  his  company,  his  name  and  work  attracting  the 
attention  of  motion  picture  spectators  the  world 
over  and  thus  giving  him  universal  fame  and  popu- 
larity, his  value  to  the  film  company  likewise  in- 
creases, and  thus  he  advances  to  the  position  of 
lead  or  star  at  the  very  high  salaries.  It  is  truly 
a  most  profitable  profession  and  one  in  every  way 
worthy  of  the  ambitions  and  efforts  of  talented 
amateurs  all  over  the  country. 


64 


PART  VII 

DO'S   AND  DON'TS   TO   THE  PROSPECTIVE 
PHOTOPLAYER 

Always  do  your  best. 

Consider  no  part  of  so  little  importance  as  to 
warrant  anything  but  your  best  portrayal.  The 
majority  of  the  leading  players  and  stars  began  as 
"extras,"  and  by  infusing  into  roles  which  were 
really  little  more  than  "mob"  parts  all  the  sincerity 
and  natural  emotion  within  their  scope  they  were 
chosen  for  regular  stock  companies,  and  have  thus 
risen  to  the  heights  of  fame  and  success. 

Don't  look  at  the  camera  when  acting  in  the 
pictures.  It  detracts  from  every  vestige  of  natural 
work. 

Don't  argue  with  the  director.  He  knows  his 
business  well  or  would  not  hold  the  position,  and, 
since  the  burden  of  responsibility  for  a  good  pro- 
duction rests  upon  him,  follow  his  methods  and 
directions  for  mutual  good. 

Don't  exhibit  a  "know-it-all"  disposition.  Be 
ever  alert  to  add  to  your  ability  by  any  suggestion 
which  may  be  offered  from  one  of  authority  and 

65 


MOVING   PICTURE    ACTING 

judgment,  accepting  it  not  as  a  criticism,  but  as  an 
incentive. 

Don't  lose  your  wits  and  poise  if  the  director 
reprimands.  It  is  seldom  intended  for  anything  but 
your  own  good  and  the  success  of  the  photoplay. 

Don't  overact !  Be  natural  in  all  your  portrayals, 
actually  living  the  roles — for  the  moment,  of 
course.  Natural  actions  and  expressions  are  the 
secret  of  success  on  the  screen. 


66 


PART  VIII 
HEIGHTS  OF   SUCCESS   AS     A  PHOTOPLAYER 

In  general,  the  profession  of  photoplay  ing  is  not 
only  one  of  the  most  progressive  of  the  day,  but 
it  is  in  reality  a  world  in  itself.  Its  members  have 
formed  social  clubs,  managed  benefit  entertain- 
ments for  sundry  good  purposes,  and  in  every  way 
aided  in  the  progress  of  their  profession  and  its 
good  to  the  community  at  large.  It  is  a  calling 
which  affords  an  opportunity  for  pleasant  and  very 
profitable  results  to  both  amateur  and  professional 
alike — not  merely  an  employment  for  to-day,  but  a 
work  which  is  rapidly  forging  ahead  as  one  of  the 
principal  professions  of  life.  The  fruits  of  its  labor 
are  a  source  of  infinite  pleasure  and  instruction 
within  the  reach  of  all  classes,  rich  and  poor  alike, 
and  it  is  little  wonder  then,  in  view  of  the  wide- 
spread success  of  motion  picture  films,  that  the  ar- 
tists shown  therein  are  the  recipients  of  universal 
praise,  and  within  two  or  three  years  enjoy  a  fame 
and  fortune  which  the  legitimate  player,  in  many  in- 
stances, struggles  through  long  years  of  disappoint- 
ment to  attain,  and  more  often  than  otherwise  drops 
from  the  race  before  the  goal  is  reached.  The  legit- 

67 


MOVING   PICTURE   ACTING 

imate  player  is  subject  to  the  hardships  of  constant 
and  hurried  travel  to  display  his  talents — at  least 
until  he  has  created  a  demand  for  his  services  as  a 
Broadway  artist ;  while  the  photoplayer  "sits  steady 
in  the  boat,"  having  the  satisfaction  of  knowing 
that  his  work  is  entertaining  thousands  all  over  the 
world,  and  his  name  is  known  everywhere,  even  in 
the  smallest  towns,  while  he  goes  on  with  other  pro- 
ductions. His  work  necessitates  travel,  too,  but  not 
with  such  inconveniences  as  that  of  his  brother  be- 
hind the  footlights.  He  remains  longer  in  one  lo- 
cality, has  a  chance  to  make  friends  and  enjoy  social 
diversions  without  the  thought  that  to-morrow 
means  "moving  on  again,"  perhaps  to  a  series  of 
"one-night  stands." 

In  addition  to  this,  the  opportunities  for  the  ama- 
teur and  less  experienced  professional  are  greater 
than  on  the  legitimate  stage.  After  a  player  has 
obtained  a  stock  engagement  with  one  company  his 
position  is  "made"  and  a  change  from  one  film  com- 
pany to  another  is  entirely  voluntary,  usually  for  a 
greater  financial  inducement.  There  are  apparently 
no  limits  to  the  heights  of  success.  Many  of  the 
"screen  stars"  have  made  small  fortunes  by  their 
work  in  the  pictures  and  have  accumulated  suffi- 
cient to  invest  in  another  company.  That  charming 
comedienne,  Florence  Lawrence,  is  a  notable  ex- 
ample of  wonderful  success,  due  to  talent,  person- 
ality, and  perseverance.  After  being  featured  by 
the  Imp,  Lubin,  and  other  companies,  she  later 

68 


MOVING    PICTURE    ACTING 

graduated  into  her  own  company,  the  Victor.  She 
has  subsequently  severed  her  connection  with  the 
Victor,  which  has  entered  the  Universal  combina- 
tion, and  is  now  said  to  be  making  plans  for  still 
another  Florence  Lawrence  Film  Producing  Co. 

Then,  there  is  the  Helen  Gardner  Co.,  the  Marion 
Leonard  Monopol  Film  Co.,  and  the  Gene  Gauntier 
Co.  All  of  these  actresses  began  in  small  parts  with 
different  companies,  rapidly  forged  to  the  front, 
and  accumulated  capital  for  investment  in  new  com- 
panies, thus  becoming  their  own  managers.  The 
latter,  Miss  Gauntier,  one  of  the  most  clever  and 
attractive  actresses  on  the  screen,  was,  until  re- 
cently, a  Kalem  star,  appearing  in  many  notable  re- 
leases of  this  company  and  traveling  thousands  of 
miles  around  the  globe,  through  the  Holy  Land, 
Egypt,  Ireland,  and  other  countries  of  the  Old 
World,  to  secure  natural  settings  for  many  two  and 
three  reel  subjects — Biblical  and  historical — the  ma- 
jority of  them  her  own  adaptations  or  produced 
from  her  original  scenarios.  She  is  now  at  the 
head  of  her  own  company,  releasing  historical  and 
other  two-reel  subjects,  which  have  made  marked 
success. 

The  world-famous  favorite,  G.  M.  Anderson — 
"Broncho  Billy" — is  part  owner  of  the  Essanay 
Film  Co.,  located  in  Chicago,  as  well  as  its  star 
actor  and  principal  director.  Many  other  well- 
known  photo-actors  have  risen  from  minor  salaries 
as  small  part  players  to  topnotch  positions  as  actor- 

69 


MOVING   PICTURE   ACTING 

directors,  not  only  playing  principal  parts,  but  also 
directing  the  production  of  various  photoplays. 
Harold  Shaw,  formerly  with  the  Edison,  Arthur 
Johnson  and  Romaine  Fielding  with  the  Lubin,  and 
James  Kirkwood  with  Victor,  are  notable  examples 
of  success  in  this  double  capacity. 

These  few  instances  merely  give  a  faint  idea  of 
the  success  and  fortune  which  may  be  acquired  in 
the  "movies."  It  is  little  wonder  that  talented  ama- 
teurs are  daily  entering  the  lucrative  ranks  of  mo- 
tion picture  players  and  climbing  to  the  heights  of 
success,  but  with  it  all  there  is  still  a  demand  and 
opportunity  for  the  capable  player.  It  has  been 
demonstrated  in  every  film  company  that  the  tal- 
ented and  capable  actor  and  actress — amateur  or 
professional — experiences  no  difficulty  in  "breaking 
into"  this  delightful  and  fascinating  work.  It  of- 
fers a  wonderful  field  for  individuality,  and,  judg- 
ing from  the  rapid  progress  in  the  past  and  present, 
no  ambition  to  attain  success  is  too  great  to  be  real- 
ized. The  limits  of  perfection  in  motion  pictures 
— both  in  photography  and  in  character  portrayals 
— are  yet  to  be  reached,  and,  in  the  words  of  Mr. 
John  Bunny,  the  famous  Vitagraph  star  and  great- 
est comedian  on  the  screen,  "There's  nothing  like 
it!" 


70 


Muriel  Ostriche 
"  Eclair  StocK  Co.' 


MISS  MURIEL  OSTRICHE,  THE  YOUNG  STAR  OF  THE  THAXHOUSER  CO. 


PART   IX 
PRODUCING  A  PHOTOPLAY 

THE  MOTION  PICTURE  STUDIO 

It  is  doubtful  if  there  are  any  two  studios  which 
are  alike  in  every  particular.  Some  of  them  (the 
American  Pathe,  located  in  Hoboken,  N.  J.,  for  in- 
stance) are  topped  and  walled  with  glass,  thus  giv- 
ing daylight  and  sunlight  for  work.  However,  this 
is  said  to  be  of  very  little  advantage,  since  the 
weather  conditions  are  so  changeable  that  few  per- 
fect picture  days,  when  work  in  the  studio  can  be 
followed  without  artificial  lighting,  are  available, 
and  even  these  open  studios  have  installed  a  multi- 
tude of  special  electric  lamps  of  untold  voltage  ca- 
pacity which  are  hung  from  the  ceiling  in  every 
studio  above  stage  and  also  on  movable  frames 
which  can  be  adjusted  to  reflect  on  the  stage  at 
just  the  right  angle  desired.  The  lighting  system 
perfected  for  the  vast  rooms,  almost  auditoriums, 
fitted  up  for  studios,  is  nothing  short  of  wonderful. 
The  lights  are  so  strong  as  to  reveal  to  the  naked 
eye  the  most  minute  veins  on  the  face  and  hands  of 
a  player,  casting  over  everything  a  purplish  tint 
which  is  sometimes  blinding. 

71 


MOVING    PICTURE    ACTING 

THE  STAGE — FOREGROUND  AND  SIDE  LINES 

The  motion  picture  stage,  whether  for  interior 
or  exterior  scenes,  is  very  much  smaller  than  the 
legitimate  stage,  and  much  smaller  than  it  would 
appear  to  be  when  the  picture  is  shown  on  the 
screen.  The  front  line,  foreground,  or  footlights 
is  less  than  ten  feet  across.  This,  of  course,  in- 
creases as  you  go  "up  stage,"  away  from  the  cam- 
era, but  there  is  a  corresponding  decrease  in  the 
size  of  the  figure  and  in  the  effect  of  the  expres- 
sions. 

The  term  "foreground"  is  used  to  designate  the 
front  line  "down  stage"  (closest  to  the  camera  or 
the  footlights  in  the  legitimate  stage),  and  the  "side 
lines"  are  the  left  and  right  limits  of  the  space  fo- 
cused by  the  camera.  All  action  within  these  lines 
is  caught  by  the  camera.  Woe  to  the  player  who 
steps  beyond  the  boundaries !  He  is  then  out  of  the 
picture,  usually  spoiling  the  scene,  necessitating  a 
retake. 

The  foreground  and  side  lines  of  the  studio  stage 
are  chalked  or  roped  off  on  the  floor  and  are  usually 
"fixed,"  though  sometimes  the  action  requires  a 
larger  or  smaller  space  (making  a  corresponding 
difference  in  the  size  of  the  figures  on  the  screen), 
and  the  lines  are  adjusted  accordingly.  The  lines 
of  an  exterior  stage  are  marked  by  rocks,  rope, 
stakes,  or  anything  at  hand  and  can  be  set  anywhere. 

72 


MOVING    PICTURE    ACTING 

Nature  or  the  progress  of  civilization  placed  the 
"props,"  and  the  director  and  camera  man  select 
the  spot  for  each  scene  according  to  the  plot  of  the 
story  and  the  sunlight  available. 

Though  not  infrequently  actual  interiors  are  util- 
ized, very  often  the  rooms  in  which  the  plot  was 
originally  unfolded,  especially  in  cases  where  par- 
ticular settings  are  desired  for  historical  or  other 
large  productions,  yet  a  majority  of  the  interior 
scenes  are  made  in  the  film  company's  studio  with 
ordinary  painted  scenery  and  properties.  This  is 
also  true  of  many  exterior  scenes.  Some  of  the 
most  beautiful  "outdoor"  settings,  which  one  would 
almost  refuse  to  believe  were  not  the  handiwork 
of  Mother  Nature,  have  been  made  in  the  studio 
with  painted  trees,  artificial  flowers,  grass  and 
shrubbery,  and  a  sky  "drop."  As  a  general  rule, 
however,  the  players  travel  out  into  the  open  coun- 
try for  woodland  scenes  or  excite  the  attention  of 
curious  pedestrians  who  gather  "like  bees  around  a 
hive"  to  witness  the  "taking"  of  some  thrilling 
street  scene. 

In  passing,  it  is  interesting  to  note  that  many 
of  these  exterior  scenes,  taken  on  crowded  city 
thoroughfares,  frequently  result  disastrously — for 
the  moment,  at  least — to  both  players  and  director. 
Several  years  ago,  so  the  story  goes,  when  photo- 
plays were  not  quite  so  well  known,  the  Vitagraph 
Company  was  taking  a  scene  on  a  quiet  residence 
street  in  New  York.  The  action  required  the  use 

73 


MOVING   PICTURE    ACTING 

of  an  imposing  corner  dwelling  and,  according  to 
the  plot,  the  heroine  and  her  father  drove  up  to 
the  house  in  a  beautiful  touring  car,  alighted  and 
entered  the  front  door.  At  the  crucial  moment 
two  thieves,  who  had  been  "on  the  inside"  appro- 
priating some  of  the  interior  possessions,  entered 
the  scene  from  a  side  window,  having  heard  the 
owner  returning,  and,  seeing  the  auto  at  the  door, 
they  decided  to  "beat  a  hasty  retreat"  by  this  mode 
of  departure.  The  scenes  showing  the  arrival  of 
the  automobile  and  its  occupants'  exit  into  the  house 
were  duly  rehearsed  and  taken.  Then  the  camera 
was  set  and  the  "thieves'  "  hasty  entrance  on  the 
scene  through  the  window  and  their  hurried  exit 
in  the  car  were  rehearsed,  the  signal  given,  and  the 
actual  "taking"  in  operation,  when,  Presto!  around 
the  corner  came  a  bicycle  policeman.  If  needed  in 
such  a  locality  at  that  time  he  could  hardly  have 
been  found,  and  was  doubtless  then  on  his  way  to 
give  assistance  to  some  fellow  custodian  of  the 
peace.  Whatever  his  mission,  he  arrived  on  this 
scene  a  moment  too  soon.  Just  as  the  "thieves" 
made  a  dash  for  the  car  and  drove  off  the  police- 
man rode  up,  witnessed  the  action  and,  with  unbe- 
lievable speed,  followed  them  and  with  his  trusty 
revolver  prevented  their  escape.  He  brought  the 
culprits  back  to  the  scene  of  action  to  confront  the 
director,  camera  man,  and  other  players,  who  stood 
watching  his  actions,  transfixed  with  astonishment. 
Then,  in  almost  breathless  exclamations,  each 

74 


MR.  CARLYLE  BLACKWELL,  LEADING   MAN  WITH  ONE  OF  THE  STOCK 
COMPANIES   OF   THE   KALEM   CO. 


MOVING   PICTURE   ACTING 

sought  to  explain  that  they  were  merely  taking  mov- 
ing pictures,  all  working  together — and  they  suc- 
ceeded so  well  in  convincing  the  policeman  that 
they  were  "working  together"  that  he  (with  visions 
of  promotion  as  a  reward  for  his  "haul"  no  doubt) 
marched  them  all  to  the  station  house.  Of  course, 
the  matter  was  there  satisfactorily  explained,  to  the 
embarrassment  of  the  policeman,  but  the  incident 
caused  some  little  inconvenience  and  loss  of  time 
to  the  company,  as  well  as  spoiling  a  well-rehearsed 
scene  and  about  a  hundred  feet  of  innocent  film. 

Let  us  suppose,  now,  that  a  photoplay  containing 
about  thirty  scenes,  both  exteriors  and  interiors, 
has  been  accepted  by  the  editor  and  approved  by 
the  supervisor  who  has  gone  over  the  manuscript, 
constructing  the  director's  working  papers  and  giv- 
ing him  instructions  as  to  its  production.  The  pho- 
toplay is  then  in  the  director's  hands.  He  chooses 
the  players  for  the  principal  characters  from  the 
regular  stock  organization  and  they  are  notified  to 
report  at  a  stated  time,  nine  A.  M.  or  earlier,  on 
the  day  set  for  the  beginning  of  the  picture.  The 
cast  calls  for  more  players  than  are  at  leisure  in 
the  stock  company,  others  working  with  the  sec- 
ond and  third  directors  perhaps.  He  then  casts  the 
remaining  characters  from  the  photographs  on  file 
according  to  types.  These  players  are  notified  by 
telephone,  telegraph,  or  letter,  to  report  at  the  set 
time. 

75 


MOVING    PICTURE    ACTING 

We  will  suppose  that  you  have  entered  the  pro- 
fession, now  have  a  trial  engagement  with  this  film 
company,  and  are  also  notified  to  report. 


COSTUMES 

The  majority  of  photoplayers  are  expected  to 
furnish  costumes  or  wardrobe  for  all  modern  plays. 
Historical  or  classic  plays  are  known  as  costume 
productions,  and  the  special  costumes  for  these  pho- 
toplays are  usually  found  in  the  wardrobe  of  the 
company. 

This  is  probably  a  modern  piece  and  you  are, 
therefore,  told  to  bring  suitable  costumes  for  the 
part  of  Rose,  a  college  girl,  or  Mary,  a  wealthy  so- 
ciety belle;  Dick,  the  hero  blessed  with  riches,  or 
Tom,  the  ragged  street  tramp,  or  Jim,  the  poor  but 
honest  laborer.  It  all  depends  on  the  plot  and  char- 
acters, of  course.  In  passing,  it  is  well  to  know 
that  strictly  white  materials  are  usually  barred. 
Pure  white  is  hard  and  glaring  on  the  screen,  so  all 
costumes,  for  both  men  and  women,  to  be  shown 
as  white  (including  waists,  shirts,  stiff  collars,  ties, 
etc.)  are  more  acceptable  if  cream  or  yellow.  This 
photographs  a  clear,  soft  white.  Some  minor  arti- 
cles of  this  color,  such  as  maids'  aprons,  men's  col- 
lars, etc.,  dyed  to  a  cream  tint,  are  kept  on  hand 
in  the  studio  wardrobe. 


76 


MOVING   PICTURE   ACTING 

To  continue,  perhaps  the  weather  is  none  too 
propitious  for  outdoor  work,  or  the  studio  stage 
may  not  be  available  later,  so  it  is  decided  to  take 
the  interior  scenes  first.  You  have  received  full 
instructions  and  accordingly  report  at  the  studio 
at  the  time  appointed.  Upon  arrival  you  consult 
the  director,  who  approves  or  makes  some  changes 
in  the  costumes  chosen,  and  you  enter  the  dressing- 
room  with  several  others,  or  alone,  as  the  case  may 
be,  ready  for  the  day's  work. 


MAKE-UP 

Rouge,  powder,  cosmetic,  foundation  sticks,  and 
cold  cream  are  furnished  by  most  of  the  studios, 
but  it  is  far  more  satisfactory  to  work  with  one's 
own  tools.  Very  little  make-up  is  used  for 
"straight"  parts — that  is,  a  character  very  like  your- 
self in  age,  type,  and  appearance.  The  straight 
make-up  is  the  simplest  and  most  frequently  used, 
especially  in  photoplays  where  the  question  of  types 
is  so  carefully  considered.  This  consists  of  a  deli- 
cate foundation  of  flesh  color  grease  paint,  the  tint 
a  little  deeper  for  men,  in  order  to  give  a  faint 
ruddy  appearance.  Just  a  particle  of  this  is  used, 
about  the  size  of  a  pea  being  sufficient.  Before  rub- 
bing it  thoroughly  into  the  skin,  however,  slightly 
massage  with  a  little  cold  cream  as  a  first  founda- 
tion to  cleanse  and  keep  the  pores  and  tissues  pure. 

77 


MOVING   PICTURE   ACTING 

Outline  the  lips  with  rouge.  Enlarge  the  eyes  by 
using  a  black  or  dark  blue  stick  to  darken  the  upper 
lid  and  also  a  slight  line  on  the  lower  lid.  Extend 
a  tiny  line  of  black  from  the  outer  corners  of  the 
eye  to  add  length,  and  dot  the  inner  corners  with 
just  a  touch  of  red.  Avoid  getting  these  cosmetics 
in  the  eyes.  Accentuate  the  eyebrows  with  just  a 
line  of  black  following  the  outline  of  the  brow  and 
extending  the  line  about  one-sixteenth  of  an  inch 
beyond  the  outer  corners  of  the  eyes.  The  eye- 
lashes are  frequently  "beaded"  to  make  them  more 
conspicuous.  This  is  done  by  melting  black  cos- 
metic— in  a  teaspoon  over  a  lighted  candle  is  the 
usual  way — touching  the  liquid  to  the  lashes  with 
a  brush  sold  for  this  purpose,  or,  preferably,  with 
an  ordinary  rosewood  stick.  The  end  of  the  stick 
dipped  in  the  black  liquid  and  brushed  lightly  across 
the  lashes  accomplishes  the  result  and  does  not  in- 
jure the  eye. 

Do  not  apply  any  rouge  except  to  the  lips.  Bloom 
on  the  cheeks  would  "take"  dark,  giving  a  sunken 
appearance  to  the  face. 

After  making-up  thus,  powder  the  face  entirely 
to  remove  the  greasy,  shiny  appearance.  It  is  nec- 
essary to  again  "touch  up"  the  lips  and  powder  the 
face  occasionally  during  a  day's  work  in  a  warm 
studio  or  when  out  in  the  air  for  exterior  scenes. 

For  whitening  the  neck,  arms,  and  hands  when 
necessary,  any  good  liquid  white  preparation  can  be 
used. 

78 


MOVING   PICTURE   ACTING 

Practice  and  observation  of  characters  in  real  life 
will  assist  one  to  learn  how  to  make  up  for  any 
type,  age,  or  nationality.  An  Indian  or  negro  make- 
up differs  only  in  the  color  of  the  foundation  grease 
paint  and  in  the  thicker  appearance  of  the  lips. 
These  different  tints  are  carried  by  all  the  good 
make-up  manufacturers,  or  can  be  purchased  from 
reliable  druggists.  For  some  characters,  of  course, 
it  is  necessary  to  use  a  wig,  mustache,  etc.,  but 
these  are  furnished  by  the  studios. 

The  directors  are  careful  to  see  that  no  partic- 
ularly noticeable  make-up  is  put  on,  since  this  de- 
tracts from  the  effect  of  the  picture.  Strive  for  a 
clear,  clean  make-up,  study  your  own  features,  and 
thus  attain  the  best  and  most  natural  results. 

After  completing  your  make-up  and  dressing  for 
the  first  scene,  you  are  called  to  the  studio  with 
the  remainder  of  the  cast.  The  stage  has  been  set 
and  the  camera  placed.  The  director  then  briefly 
explains  the  plot  of  the  play  and  you  get  a  hazy  idea 
of  what  it's  all  about.  A  moment  later  you  are 
wakened  from  your  reverie  by  the  director's  call: 
"Now  we'll  walk  through  scene  I."  He  hurriedly 
explains  the  action,  you  take  your  place  and  the 
scene  is  "walked  through" — in  other  words,  re- 
hearsed. After  suggestions  from  the  director,  a 
second  rehearsal  is  held.  Then,  if  just  an  ordinary 
unimportant  scene,  a  third  or  fourth  rehearsal  is 
usually  sufficient.  All  is  then  in  readiness,  and  the 
director  gives  the  call,  "Ready,  now  be  careful, 

79 


MOVING   PICTURE    ACTING 

we're  going  to  shoot  it."  He  gives  the  camera  man 
the  word,  a  moment  later  shouts  "Go,"  and  the  play- 
ers begin  the  scene  in  earnest  Throughout  its 
action  may  be  heard  the  cranking  noise  of  the  cam- 
era, the  dialogue  of  the  players,  and  the  voice  of 
the  director  as  he  anticipates  their  lines,  lest  they 
forget,  and  hurries  the  action  of  the  scene.  "Now 
enter,  see  the  boy !  Good  afternoon,  Yes !  Look  at 
the  girls !  Give  him  the  paper !  Good-bye,  I'll  call 
again!  Exit!!  Stop!  How  many  feet?"  turning 
to  camera  man.  If  the  scene  is  too  long,  it  is  re- 
hearsed again  and  re-taken.  Before  and  after  each 
scene,  the  number  of  that  particular  scene  is  held 
before  the  camera  and  taken,  for  guidance  when 
developing  the  picture.  This  is  the  procedure  with 
every  scene,  both  interiors  and  exteriors.  Perhaps 
the  action  of  other  scenes  takes  place  in  the  same 
setting.  If  so,  the  intervening  scenes  are  passed  and 
these  taken  before  the  setting  is  changed.  The 
order  of  taking  does  not  affect  the  completed  film, 
since  the  scenes  are  pieced  together  and  connected 
when  developed. 

Exterior  work  is,  perhaps,  more  interesting  than 
interior,  especially  during  the  summer  season.  A 
big  touring  car  transports  the  players,  directors, 
camera  man,  assistants,  and  all  necessary  parapher- 
nalia to  the  location  selected,  and  here  the  same  pro- 
cedure takes  place  as  for  interior  scenes. 

To  continue  the  supposition  we  will  say  that  the 
first  two  or  three  days  are  spent  in  the  studio  on 

80 


MOVING    PICTURE    ACTING 

interiors.  Then  the  call  is  given  and  two  or  three 
days  (a  week  or  more  being  required  for  the  taking 
of  an  average  full  reel  photoplay,  under  ordinary 
conditions)  are  devoted  to  the  exterior  scenes.  You 
arrive  at  the  studio  as  usual  or  earlier,  make  up  and 
dress,  and  are  then  given  a  "joy  ride"  to  the  site 
selected  for  the  day's  work,  carrying  with  you  such 
articles  of  make-up  and  costume  as  will  be  needed. 
If  the  day  is  bright  and  sunny,  the  scenes  can  be 
taken  without  interruption,  but  if  clouds  darken  the 
horizon  it  is  frequently  necessary  to  stand  idly  by, 
after  carefully  rehearsing  a  scene,  to  await  the  ap- 
pearance of  "Old  Sol"  and  his  willingness  to  con- 
tribute his  cheery  rays.  The  setting  sun  gives  the 
signal  for  the  return  trip  to  the  studio,  and  thus 
your  day  is  done. 

To  the  player  taking  exterior  scenes  is  more  plea- 
sure than  work.  Usually  a  light  lunch  is  carried  if 
the  day  is  to  be  spent  in  the  woods,  and  thus  the 
atmosphere  of  a  picnic  prevails.  Of  course,  some 
exteriors,  water  scenes,  etc.,  are  fraught  with  haz- 
ardous risks  which  have  met  with  fatal  but  unavoid- 
able results.  However,  every  precaution  is  taken 
to  insure  the  player  against  accidents  when  engaged 
in  daring  scenes,  and,  as  a  rule,  little  or  no  fear  is 
felt. 

No  other  branch  of  acting  gives  the  player  such 
pleasant  surroundings  nor  furnishes  such  healthy 
invigorating  occupation  as  motion  picture  work. 
During  the  summer  season  companies  are  located 

81 


MOVING   PICTURE   ACTING 

in  the  mountains,  on  the  seashore,  near  delightful 
resorts — in  fact,  everywhere — to  take  advantage  of 
all  the  wonders  of  Nature  as  well  as  the  results  of 
man's  ingenuity.  These  settings,  used  as  the  back- 
ground for  various  photoplays  of  every  type — 
comedy,  drama,  tragedy,  etc. — both  educational  and 
entertaining —  carry  life  and  love  into  lives,  and,  in 
turn,  into  homes,  which  are  probably  touched  in  no 
other  way  and  perhaps  get  no  other  insight  into 
the  beauties  of  the  outside  world ;  and  for  the  very 
lowest  cost  possible,  within  the  reach  of  the  masses, 
furnish  a  never-ending  source  of  amusement  and 
instruction  to  the  whole  known  world. 


82 


MISS  FLORA  FINCH.  OF  THE  VITAGRAPH  CO., 


PART   X 
[STATEMENTS  OF  SUCCESSFUL  PHOTOPLAYERS 

It  is  indeed  interesting  to  read  the  opinions  of 
established  successful  motion  picture  actors  and  ac- 
tresses regarding  the  profession,  its  possibilities  and 
opportunities. 

EXTRACT  FROM  LETTER  OF  MISS  GWEN- 
DOLINE PATES,  LEADING  LADY  WITH 
THE  PATHfi  FR^RES  (AMERI- 
CAN) FILM  COMPANY 

Dainty  little  Miss  Gwendoline  Pates,  one  of  the 
most  fascinating  actresses  on  the  screen  and  lead- 
ing lady  with  the  American  Pathe  Company,  is 
most  enthusiastic.  Her  keen  ambition  and  charm- 
ing personality,  which  have  been  so  largely  responsi- 
ble for  her  success,  are  reflected  in  her  general 
statement  regarding  the  work,  as  follows: 

"The  necessary  qualifications  for  a  successful 
photoplayer  are  that  you  must  photograph  well,  and 
be  able  to  express  facially  the  idea  that  you  want 
to  convey  to  the  audience. 

"As  to  salaries,  they  vary  as  to  the  ability  and 

83 


MOVING   PICTURE   ACTING 

value  of  the  players  to  the  company.  Generally 
speaking,  the  salaries  range  from  forty  dollars 
($40)  a  week  up  into  the  hundreds  a  week.  The 
extras  are  paid  five  dollars  ($5)  a  day  and  some- 
times ten  dollars  ($10)  a  day.  I  like  the  work  very 
much  as  the  more  I  work  the  more  room  I  see  for 
improvement.  The  parts  are  so  varied  in  charac- 
ters,— one  week  a  Sis  Hopkins,  the  next  a  mother, 
and  each  character  has  its  own  special  interest.  I 
am  very  fond  of  light  comedy  although  I  like  to 
work  in  a  dramatic  production  once  in  a  while  too. 
I  miss  the  inspiration  that  you  get  from  the  applause 
of  your  audience  in  the  regular  theater,  so,  of 
course,  it  is  rather  hard  to  finish  a  big  emotional 
scene  to  find  only  the  camera  waiting  to  take  the 
next  scene.  There  is  a  great  future  for  moving 
pictures  and  they  have  been  of  great  help  and  bene- 
fit to  thousands  of  men  and  women  and  children. 
I  like  to  drop  into  a  moving  picture  house  and 
listen  to  the  opinions  of  dozens  of  people  as  to  your 
work.  It  is  of  great  help  to  you. 

"One  of  the  most  popular  pictures  of  recent  time 
is  'The  Aeroplane  Love  Affair'  in  which  Mr.  George 
W.  Beatty,  the  well  known  aviator,  and  myself  are 
featured. 

"I  went  up  with  Mr.  Beatty  six  or  seven  thousand 
feet,  and  during  the  holidays  I  am  going  to  learn 
to  fly  a  biplane,  taking  lessons  from  Mr.  Beatty." 


STATEMENT   OF   MR.    CARLYLE   BLACK- 
WELL,  WITH  THE  KALEM  CO. 

In  his  statement  which  follows  Mr.  Carlyle  Black- 
well,  one  of  the  stars  of  the  Kalem  Company,  has 

84 


MOVING   PICTURE   ACTING 

made  a  prediction  which  will  not  only  be  realized  in 
the  future  but  is  rapidly  being  felt  by  the  amuse- 
ment world  at  large  to-day: 

"What  are  the  necessary  qualifications  for  the 
making  of  a  successful  photoplay  actor? 

"I  would  say  the  same  quality  that  is  required  on 
the  stage, — ability  and  more  ability.  The  picture 
industry  is  advancing  so  rapidly  and  with  recog- 
nized writers  and  actors  and  actresses  of  interna- 
tional reputation  entering  the  field,  thus  putting  the 
photo-play  on  the  same  level  with  the  legitimate 
play,  I  feel  that  more  and  more  the  actor  of  ability, 
the  really  capable  man  as  compared  with  the  simply 
handsome  face,  the  broad  shoulders  or  the  trick  of 
lifting  an  eyebrow,  will  be  called  upon  to  fill  the 
ranks  of  the  motion  picture  stock  companies. 

"The  salaries  for  a  picture  stock  company  range 
about  the  same  as  for  a  dramatic  stock  company, — 
from  forty  to  sixty  dollars  for  small  part  players 
and  as  high  as  two  hundred  and  fifty  dollars  for 
leading  players." 

STATEMENT  OF  MISS  MIRIAM  NESBITT, 
LEADING  LADY  WITH  THE  EDISON  CO. 

Miss  Miriam  Nesbitt,  leading  lady  for  the  Edi- 
son Company,  and  the  object  of  the  adoration  of 
hundreds  of  motion  picture  enthusiasts,  is  most  en- 
couraging to  those  who  would  enter  the  same  field. 
She  says : 

"To  your  first  question :  'What  are  the  necessary 
qualifications  for  the  making  of  a  successful  photo- 

85 


MOVING    PICTURE    ACTING 

player?'  I  should  say  good  features,  or  rather  fea- 
tures and  a  figure  that  photograph  well. 

"An  actress  can  never  know  whether  she  owes 
her  success  on  the  stage  to  voice,  her  coloring,  or 
her  appearance  (personality)  until  she  has  tried  pic- 
ture work.  If  she  fails  at  picture  posing,  and  yet  is 
a  success  on  the  stage,  then  undoubtedly  she  owes 
her  success  to  her  voice  and  coloring  alone,  and  is 
a  poor  pantomimist.  If  she  is  a  success  on  both  the 
stage  and  screen,  she  may  not  have  the  divine  spark, 
but  no  one  can  deny  she  is  a  'good  actress.'  So,  in 
a  word,  appearance  and  ability  are  the  first  quali- 
fications for  success  on  the  screen.  I  believe  many 
girls  of  talent  and  appearance  drop  from  the  ranks 
of  the  stage,  because  they  have  not  the  physical 
strength  to  endure  the  hardships  of  travel. 

"To  the  next  question,  regarding  a  talented  per- 
son's chances  of  entering  the  profession.  I  think 
their  chances  are  excellent  provided  they  can  profit 
their  position  on  the  stage.  There  is  no  royal  road 
to  success  in  the  moving  picture  world.  You  ad- 
vance from  a  trial  scene,  to  a  day  poser,  then  to 
the  'guarantee'  class,  and  from  there  to  the  stock 
ranks.  Regarding  salaries  I  can  only  speak  gen- 
erally. I  have  heard  that  the  average  price  for  a 
beginner  who  plays  a  part  is  $5.00  per  day.  Stock 
company  people  vary  largely,  but  I  should  say 
$75.00  per  week  is  an  average  salary:  Many  work 
for  less  and  some  receive  more.  By  the  year,  I 
think  that  the  stock  company  moving  picture  actor 
fares  as  well  if  not  better  than  players  in  first  class 
New  York  or  traveling  companies." 


86 


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MOVING   PICTURE   ACTING 

STATEMENT    OF    MISS    FLORA    FINCH, 

CHARACTER  ACTRESS  WITH  THE 

VITAGRAPH 

Miss  Flora  Finch,  that  delightful  Vitagraph 
player,  whose  line  of  parts  is  somewhat  different 
from  those  of  Miss  Pates  and  Miss  Nesbitt,  mod- 
estly belittles  her  own  efforts  but  nevertheless  gives 
some  most  helpful  advice  and  information  regard- 
ing the  profession.  She  writes: 

"In  reply  to  your  question,  'What  are  the  nec- 
essary qualifications  for  the  making  of  a  success- 
ful photoplayer  ?'  I  think  in  the  first  place — person- 
ality! Next — Never  to  think  you  know  it  all! 
There  are  many  lesser  requisites  but  to  my  mind 
these  two  are  the  leaders. 

"Passing  to  your  next  question,  I  see  no  reason 
why  a  clever  person  should  not  easily  'get  on'  in  the 
moving  picture  business.  But  then,  any  one  with 
brains  ought  to  get  on  under  any  circumstances. 
Plenty  of  grit  is  needed  in  all  walks  of  life. 

"The  subject  of  salaries:  Well!  here  we  are  in 
deep  water  in  a  minute.  In  general,  one  might  say 
that  stars  draw  a  weekly  salary  in  three  figures; 
lesser  lights  range  from  somewhere  around  $20.00 
to  $80.00,  and  lastly  extras  who  are  paid  $2.50, 
$3.00  and  $5.00  per  day  according  to  the  company 
employing  them  and  varying  with  the  work  they  do. 

"As  for  my  own  work, — well,  I  can't  say  much 
except  that  I  am  very  interested  in  it,  tho'  sad  to 
relate  I  dislike  nearly  everything  I  do.  During  the 
three  or  four  years  I  have  been  in  the  business,  I 

87 


MOVING   PICTURE    ACTING 

have  only  been  in  four  or  five  pictures  where  I  was 
in  any  way  satisfied  with  myself. 

"Lately  I  have  been  in  a  picture  from  Dickens 
which  I  enjoyed  working  in  partly  because  the  story 
was  good,  partly  because  the  cast  was  also  good, 
and  also  because  I  wore  my  grandmother's  wedding 
dress,  a  quaint  old  affair  with  short  skirt  and  big 
puffed  sleeves. 

"Lastly,  I  wish  to  say  a  word  of  praise  for  the 
Vitagraph,  the  most  human,  the  greatest-hearted  of 
all  the  moving  picture  companies.  Here's  to  Mr. 
Smith  and  Mr.  Blackton !  Long  may  they  live !" 

STATEMENT  OF  MISS  MAE  HOTEL Y,  OF 
THE  LUBIN  COMPANY : 

"Jolly  Mae  Hotely,"  as  she  is  affectionately  called 
by  her  friends  and  admirers  at  the  Lubin  studio,  is 
another  enthusiast  regarding  her  work  in  the  pic- 
tures. Miss  Hotely  has  played  a  number  of  char- 
acter roles  which  in  "make-up"  and  portrayal  are 
really  "screams."  She  is  truly  an  artist  and  espe- 
cially "at  home"  in  comedy  roles.  She  writes  most 
interestingly  as  follows: 

"To  be  an  actor  or  actress  upon  the  moving  pic- 
ture screen  before  the  public,  a  good  appearance  is 
required  above  all  else. 

"The  salaries  range  all  the  way  from  one  dollar  a 
day,  given  to  the  extra  people  used  in  mob  scenes, 
up  to  one  hundred  and  seventy- five  dollars  per  week, 
possibly  even  higher,  to  motion  picture  stars. 

"A  large  and  varied  wardrobe  is  also  a  necessity. 

"The  pictures  cannot  be  photographed  satisfac- 
88 


MOVING   PICTURE    ACTING 

torily  on  very  dark  or  rainy  days,  as  a  good  strong 
sunlight  is  required ;  therefore,  there  are  a  few  days 
on  which  the  actors  have  a  little  leisure. 

"The  pictures  are  taken  in  scenes  and  a  certain 
space  is  allotted  to  an  individual  to  work  in,  usually 
the  space  being  marked  off  by  lines.  Of  course,  it 
is  very  difficult  for  an  inexperienced  person  to  keep 
within  their  grounds,  and  there  are  many  different 
little  tricks  that  have  to  be  performed  perfectly 
under  great  difficulties. 

"While  I  do  not  discourage,  I  do  not  encourage 
girls  in  taking  up  this  line  of  work,  as  it  is  a  labori- 
ous task  and  a  long  hard  road.  In  the  old  days  the 
directors  would  probably  aid  in  coaching  a  little  bit, 
but  nowadays  they  do  not  bother,  as  they  expect 
perfection." 

NOTE. — Judging  from  the  observations  and  opinions  of 
other  photoplayers,  however,  it  is  difficult  to  agree  with 
Miss  Hotely's  idea  regarding  the  attitude  of  directors  as 
expressed  in  the  last  sentence  of  her  statement.  It  has 
been  the  experience  of  others,  and  more  particularly  of 
those  who  have  attained  success  on  the  screen  with  no 
stage  training  whatever,  that  the  directors  have  been  and 
are  most  considerate,  and  in  the  majority  of  instances 
always  willing  to  assist  a  beginner  and  to  help  the  pro- 
spective photoplayer,  whether  amateur  or  professional,  to 
an  understanding  of  the  details  of  the  work  which  make 
it  so  different  from  ordinary  acting  on  the  speaking  stage 
and  also  enable  the  talented  and  capable  beginner  to  attain 
success  in  the  pictures — as  has  been  done  in  many,  many 
noteworthy  cases — without  previous  training  or  experi- 
ence. 

INTERVIEW    WITH    MISS    MURIEL 

OSTRICHE,  OF  THE  THANHOUSER 

FILM  COMPANY 

One  of  the  most  wonderful  examples  of  success 
as  a  photoplayer  without  having  had  any  previous 

89 


MOVING   PICTURE    ACTING 

experience  or  training  in  stage  work  is  Miss  Muriel 
Ostriche,  a  dainty,  bewitching  little  miss  of  seven- 
teen summers.  Yes,  it's  true!  She  is  only  seven- 
teen and  really  looks  younger.  A  bubbling  bit  of 
enthusiasm  regarding  her  own  work  and  the  won- 
derful future  in  store  for  motion  pictures,  Miss  Os- 
triche is  a  most  entertaining  little  talker,  and 
merely  being  with  her  imbues  one  with  the  same 
instinct  of  a  determined  ambition  which  means  to 
win! 

After  a  delightfully  informal  introduction,  Miss 
Ostriche  and  her  interviewer  snuggled  up  together 
in  the  only  vacant  chair  in  the  Reliance  Studio  at 
the  time,  and  Miss  Ostriche,  breaking  the  ice  with 
her  winsome  personality  and  musical  voice,  said : 
"Now,  shall  I  tell  you  how  I  began?" 
Having  heard  so  much  regarding  this  question 
from  outsiders,  the  truth  of  the  matter  from  her 
own  lips  was  just  what  the  interviewer  was  eager 
to  know. 

"Well,  you  see,  I  have  never  been  on  the  stage 
at  all.  No,  I  didn't  even  take  elocution  lessons,  but 
went  right  into  the  pictures.  It  was  this  way.  I 
was  only  15,  going  to  High  School.  I  went  to  see 
the  moving  pictures  very  often  and  liked  them  im- 
mensely. Then,  one  day  I  thought  I  would  like  to 
play  in  the  pictures.  Wasn't  that  nerve?  But, 
just  the  same,  I  went  down  to  the  Biograph  Studio 
and  they  thought  I  looked  very  much  like  Mary 
Pickford.  (She  was  not  with  them  then.)  Any 
way  they  decided  to  give  me  a  trial  the  next  day. 

90 


MOVING    PICTURE    ACTING 

Well,  I  went  down,  but  Oh!  how  scared  I  was! 
There  was  a  big  crowd  at  the  studio — it  was  a  spe- 
cial picture,  I  think, — it  seemed  to  me  that  five 
hundred  eyes  were  looking  on,  though,  of  course, 
there  were  not  that  many — and  I  was  shaking  in  the 
knees.  But  I  must  have  gotten  through  all  right  be- 
cause they  told  me  to  come  down  again  the  next 
day.  Then,  I  was  to  go  in  their  stock  company  but 
it  was'  going  out  West  and  to  other  parts  of  the 
country  and  Mother  wouldn't  let  me  go.  You  see 
I  was  too  young  to  go  away  all  alone  on  so  little 
experience.  Well,  then  a  friend  of  mine  suggested 
that  I  go  over  to  the  Pathe  and  see  them,  so  I  did, 
never  thinking  it  would  bring  anything,  but  the 
director  of  the  Pathe  decided  to  put  me  in  a  picture 
on  trial  and  in  that  way  I  worked  with  that  com- 
pany too.  Then  the  week  following  they  were  to 
let  me  know  whether  or  not  I  was  to  join  their 
regular  stock  company,  but  in  the  meantime  the 
Eclair  Company,  who  had  seen  me  in  the  pictures, 
asked  me  if  I  would  come  up  there  and  play  in  a 
picture  with  them.  I  thought  I  might  as  well  make 
the  $5.00  a  day  with  them  while  waiting  for  the 
Pathe,  so  I  went  over  to  their  studio. 

"Oh,  I  was  frightened!  The  picture  was  to  be 
a  school  girl  comedy  and  about  twelve  girls  were 
there  that  morning.  The  director  stood  us  all  up 
in  a  row  and  then  told  me  what  I  was  to  play.  I 
did  not  know  the  story  then  but  I  found  later  it 
was  the  lead.  Just  think  of  it!  The  Eclair  liked 
my  work  so  well  in  that  picture  that  they  asked  me 
to  come  into  their  stock  company  right  away  and 
not  wait  for  the  Pathe,  so  I  did. 

"I  stayed  with  the  Eclair  for  a  year  and  a  half, 
and  then  the  Reliance  offered  me  the  ingenue  leads 

91 


MOVING   PICTURE   ACTING 

in  their  stock  company  with  an  increase  in  salary, 
so  now  I'm  here  with  them. 

"No,  it  wasn't  wonderful.  Many  others  have 
done  as  well  or  better  and  also  had  no  stage  experi- 
ence at  all  before  they  went  into  the  pictures.  Will 
I  go  on  the  legitimate  stage?  Well,  I  don't  know. 
I  like  the  pictures  very  much  but  some  time  I  think 
I  will  go  on  the  stage.  I've  had  several  good  offers 
from  managers  who  have  seen  my  work  in  the  pic- 
tures and  I  really  think  I  should  like  the  change 
some  time,  though  not  for  a  while.  I  like  the  pic- 
tures too  well  and  there  is  a  splendid  opportunity 
in  them." 

Miss  Ostriche  added  that  she  hopes  to  make  a 
big  success  in  the  pictures  and  is  working  hard  to 
this  end,  but  judging  from  her  salary  of  nearly 
three  figures  (and  she  is  only  17)  and  her  many 
thousands  of  admirers  all  over  the  country  it  would 
seem  that  she  has  made  "a  big  success." 

NOTE. — Just  before  this  book  went  to  press  Miss 
Ostriche  accepted  an  offer  from  the  Thanhouser  Com- 
pany and  is  now  with  that  firm. 

At  a  subsequent  meeting  the  interviewer  also  had 
a  delightful  chat  with  Mrs.  Ostriche,  who  is  justly 
proud  of  her  talented  young  daughter.  In  the 
course  of  the  conversation  Mrs.  Ostriche  spoke  in- 
terestingly of  Miss  Muriel's  persistence  and  deter- 
mination to  climb  to  the  top  of  the  ladder.  She 
said: 

"It  is  almost  impossible  to  get  her  out  for  a  social 
evening.  She  is  perfectly  happy  and  contented  if 
left  alone  in  her  room,  standing  before  a  large  mir- 

92 


MOVING    PICTURE    ACTING 

ror,  and  practicing  facial  expressions  and  various 
scenes  and  situations  which  include  all  the  different 
emotions  which  bring  versatility,  and  will  make  her 
just  as  clever  in  strong  emotional  scenes  as  in  light 
comedy  work." 

STATEMENT  OF  MISS  ALICE  JOYCE, 
KALEM  STAR 

One  of  the  most  famous  actresses  on  the  screen, 
and  perhaps  the  most  admired  of  all,  is  Miss  Alice 
Joyce,  the  Kalem  star.  Miss  Joyce,  a  tall,  strik- 
ingly handsome  young  woman,  with  a  wealth  of 
light  golden-brown  hair,  large,  dark,  expressive 
eyes,  and  a  most  exquisite  mouth  set  in  a  face  of 
exceptional  beauty,  is  a  most  unusual  personality. 
Outwardly  she  is  cold,  always  calm  and  reserved. 
She  is  temperamental  to  a  degree,  enthusiastic  but 
not  strongly  emotional — off  the  screen.  On  the 
surface  she  is  apparently  indifferent  to  her  sur- 
roundings, work  and  success,  but  underneath  beats 
a  heart  sympathetic  and  generous  to  a  fault,  alive 
to  every  opportunity,  quick  to  grasp  any  new  ideas, 
and  always  ready  to  encourage  and  praise  the  work 
of  others.  She  is  a  most  thorough  student  of 
photo-acting.  All  the  tricks  of  the  trade  are  at 
her  command.  Her  knowledge  of  the  technique  of 
motion-picture  acting  is  perhaps  greater  than  that 
of  any  other  player.  And  she,  too,  has  never  been 
on  the  legitimate  stage.  Recently,  in  speaking  of 
the  work,  she  said : 

93 


MOVING   PICTURE    ACTING 

"There  is  a  vast  difference  between  acting  in  the 
pictures  and  on  the  stage.  There  are  many  little 
tricks  and  technical  points  one  must  acquire  to  'put 
it  over'  on  the  screen.  That  is  why  so  many  really 
clever  and  famous  actors  and  actresses  make  a 
failure  in  the  pictures.  They  have  grown  dependent 
upon  their  voices,  to  the  neglect  of  facial  expres- 
sions, and  have  also  acquired  a  'staginess'  which 
bars  natural  work,  so  essential  on  the  screen.  They 
are  usually  given  to  the  use  of  various  mannerisms 
which  they  cannot  throw  off,  and  these  are  evident 
and  a  part  of  their  portrayals  of  every  part.  In  the 
pictures,  this  is  bad.  No  two  parts  should  be  played 
alike.  The  pictures  are  supposed  to  be  life,  and 
must,  therefore,  be  natural. 

"When  I  started  in  this  business,  about  three 
years  ago,  I  didn't  know  anything  about  acting.  I 
had  posed  for  photographers,  illustrating  fashion 
styles  and  so  on,  but  I  had  never  been  on  the  stage, 
and  so  I  had  nothing  to  unlearn  when  going  into 
the  pictures." 

"Isn't  yours  an  exceptional  case?"  Miss  Joyce 
was  asked. 

"No,  not  exceptional.  There  are  many  who  be- 
gan in  the  pictures  and  are  stars  now,  without  ever 
having  been  on  the  stage.  My  little  friend,  Irene 
Boyle,  also  with  the  Kalem,  Marian  Cooper,  Alice 
Hollister,  Anna  Nilsson,  and  many  others  I  might 
recall  were  never  on  the  stage.  Many  leading 
photo-actors  have  had  no  real  theatrical  experience. 
A  number  of  them  were  at  one  time  in  the  chorus 
singing  and  dancing  but  were  practically  amateurs 
when  they  went  into  the  pictures.  There  is  a 

94 


MISS    MAE   HOTELY   AS  AN   IRISHWOMAN 
(SHOWS   WHAT   CLEVER    MAKE-UP   CAN   ACCOMPLISH) 


MOVING    PICTURE    ACTING 

greater  future  in  the  pictures,  especially  for  one  who 
photographs  well,  and  the  work  is  fascinating." 

Miss  Joyce,  who  is  also  one  of  the  highest  sal- 
aried players  on  the  screen,  drawing  a  weekly  in- 
come of  three  figures,  casually  said  that  she,  too, 
might  some  day  go  on  the  legitimate  stage  for  a 
while,  but  just  now  she  is  quite  content  to  con- 
tinue in  the  pictures  as  star  of  one  of  the  largest 
film  companies  in  the  United  States. 

INTERVIEW    WITH    MR.    JOHN    BUNNY, 
STAR  OF  THE  VITAGRAPH  CO. 

Perhaps  the  best  known  of  all  photoplayers  is 
Mr.  John  Bunny,  star  of  the  Vitagraph.  Mr. 
Bunny's  name  is  a  household  word,  not  only  from 
coast  to  coast  in  America,  but  also  in  every  city 
and  town  in  the  world  at  all  acquainted  with  the 
"movies,"  and  the  appearance  of  a  "Bunny  film" 
at  any  theater  is  really  a  treat.  It  is  difficult  to  say 
whether  Mr.  Bunny  is  most  delightful  on  the 
screen  or  off.  He  is  a  man  of  marked  intelligence 
and  a  brilliant  personality.  He  is  especially  inter- 
ested in  the  motion  pictures  from  an  educational 
viewpoint.  In  a  recent  personal  interview,  when 
speaking  of  the  industry  which  he  says  is  his  hobby, 
and  not  only  his  present  but  also  his  future  life 
work,  Mr.  Bunny  said  in  part: 

"I  believe  the  time  is  coming  when  motion  pic- 
ture machines  will  be  a  part  of  the  equipment  of 

95 


MOVING   PICTURE   ACTING 

every  school  and  college  in  the  country,  and  many 
branches  of  learning  now  so  objectionable  to  chil- 
dren will  be  made  interesting  by  the  use  of  motion 
pictures.  My  principal  worry  is  the  fact  that  I 
can't  hope  to  live  long  enough  to  do  all  the  work 
which  I've  mapped  out  for  myself.  I  have  planned 
fifty  years  of  activity  in  the  motion  picture  business, 
which  I  fear  I  will  not  live  to  carry  out  entirely. 
I  want  to  see  Latin  and  Greek  mythology  taught  in 
every  school  and  college  in  the  United  States  by  the 
use  of  films.  It  can  and  will  be  done  and  will  be 
one  of  the  biggest  gifts  to  mankind  the  world  has 
ever  known." 

Regarding  the  motion  picture  industry  as  a  pro- 
fession, Mr.  Bunny  said: 

"There's  nothing  like  it.  No  other  work  gives 
an  actor  or  would-be  actor  the  same  advantages. 
In  the  pictures,  a  player  gets  52  weeks  in  the  year. 
Where  is  the  theatrical  manager  who  can  offer  that  ? 
Not  even  vaudeville  stars  can  get  such  'bookings.' 
At  best,  30  weeks  is  about  all  an  actor  can  expect 
on  the  stage.  He  may  get  summer  stock  work,  but 
even  so  it  is  of  uncertain  duration.  Stage  work  is 
a  gamble.  Even  when  you  have  been  engaged  for  a 
production,  rehearsed  from  three  to  six  weeks,  with- 
out pay,  and  no  doubt  bought  your  own  costumes 
for  the  piece,  you  have  no  guarantee  that  it  will  be 
a  success.  If  the  public  does  not  set  its  stamp  of 
approval,  your  job  is  all  over  perhaps  after  but  one 
performance,  and  you  can  only  repeat  the  procedure 
by  trying  again  with  something  else,  charging  the 
other  to  your  loss  account,  with  a  credit  notation 
probably  on  the  page  marked  'experience.' 

96 


MOVING   PICTURE   ACTING 

"It  is  so  much  different  in  the  pictures.  There 
you  get  a  weekly  salary,  no  long  tedious  rehearsals, 
and  an  occasional  off-day  as  the  result  of  inclement 
weather,  lack  of  parts  for  your  type  of  player,  or 
other  reasons,  and  still  draw  your  salary  if  on  a 
contract  basis. 

"In  many  cases — as  for  instance  your  humble 
servant — there  is  an  occasional  open  week  when  the 
film  company  will  give  a  player  permission  to  ap- 
pear in  vaudeville.  I  have  made  such  appearances, 
— at  Hammerstein's,  and  other  theaters,  and  also  in 
the  larger  cities  of  both  East  and  West.  I  do  a  spe- 
cial typically  moving-picturesque  act  which  is  a 
novelty,  goes  big,  and  I  enjoy  it,  too.  It  brings  a 
little  'loose  change'  as  well  as  an  intimate  acquaint- 
ance with  an  audience,  which  you  do  not  get  when 
on  the  screen,  of  course.  This  shows  you  what  an 
inducement  it  is  to  me." 

Here  Mr.  Bunny  modestly  tendered  a  vaudeville 
contract,  and  the  interviewer's  eyes  opened  in  won- 
der and  admiration  when  she  read  the  figure  $1,000 
as  the  "loose  change"  for  this  popular  screen  star's 
appearance  for  a  week  in  vaudeville. 

In  answer  to  the  interviewer's  question,  Mr. 
Bunny  continued: 

"Yes,  there  are  many  in  the  business  who  had 
no  professional  experience  whatever  before  going 
into  the  pictures.  I  know  of  at  least  six  or  more 
now  at  the  Vitagraph  who  began  their  theatrical 
careers  in  the  pictures  and  are  now  enjoying  in- 
comes of  from  two  to  five  thousand  a  year — that  is 
about  $40.00  to  $100.00  weekly.  Among  these  are 

97 


MOVING   PICTURE    ACTING 

Miss  Flora  Finch,  Miss  Leah  Baird,  Miss  Dorothy 
Kelly,  and  others.  The  qualifications  are  essentially 
talent  and  the  ability  to  be  natural  rather  than  to 
act." 

At  this  point  the  interviewer,  like  the  little  girl 
who  said  that  "every  time  she  opened  her  mouth 
she  put  her  foot  in  it,"  made  a  break  by  saying, 
"And  what  about  personal  appearance,  Mr.  Bun- 
ny?" Now,  with  all  due  justice,  let  it  be  said  that 
no  direct  personal  reference  was  intended  or  even 
thought  of,  but  Mr.  Bunny — quick  to  see  the  hu- 
morous side  of  any  situation — held  up  his  fore- 
finger threateningly,  and,  with  a  contagious  laugh, 
replied,  "Now,  young  lady!"  The  offender  was 
embarrassed,  to  say  the  least  of  it,  but  Mr.  Bunny's 
genial  nature  and  even  disposition  accepted  it  all 
as  a  joke,  and  after  acknowledging  effusive  apolo- 
gies, Mr.  Bunny  supplied  the  information  desired 
by  saying,  "Of  course,  one  must  also  photograph 
well." 

When  asked  how  he  began  his  wonderful  work 
on  the  screen,  Mr.  Bunny  said: 

"That's  a  long  story.  About  three  or  four  years 
ago,  I  was  one  of  the  foremost  comedians  on  the 
stage.  I  have  played  good  parts  with  the  Shuberts, 
Chas.  Frohman's  productions  and  all  the  biggest 
managers.  However,  I  awoke  to  the  fact  that  the 
stage  game  was  not  what  it  had  been  and  that  the 
'movies'  were  the  coming  thing.  So  I  decided  I 
would  rather  be  behind  the  guns  than  in  front  of 

98 


JOHN   BUNNY,   OF   THE   VITAGRAPH   CO..   AS  A  JOLLY   TAR 


MOVING    PICTURE    ACTING 

them.  I  wanted  to  be  with  the  'shooters'  rather 
than  with  the  'shot/  so  I  canceled  my  thirty  weeks' 
contract  with  the  Shuberts,  threw  aside  all  the  years 
of  experience  and  success  I  had  had,  and  decided  to 
begin  all  over  again.  I  went  down  to  the  Vitagraph 
studio,  which  was  then  in  its  infancy,  and  frankly 
told  them  I  wanted  to  work  in  the  pictures.  They 
knew  of  me  and  my  work  and  were  naturally  sur- 
prised, in  view  of  the  general  attitude  toward  mov- 
ing picture  players  at  that  time,  that  I  should  be 
seeking  an  entrance  into  the  field.  However,  I  ig- 
nored this  and  offered  to  work  in  my  first  picture 
for  nothing,  so  they  could  judge  of  my  appearance 
on  the  screen.  I  was  game  and  they  accepted. 

"Before  I  had  finished  my  first  picture  they  asked 
me  to  play  in  the  next  and  I  agreed,  saying  nothing 
till  I  had  finished  the  first.  Then  I  asked  them  what 
they  could  do  for  me  in  stock.  I  must  admit  that 
I  did  not  receive  a  very  enthusiastic  reception. 
They  said:  'Mr.  Bunny,  you  are  a  high-salaried 
comedian.  We  have  looked  up  your  past  engage- 
ments, and  while  we  realize  you  would  be  a  very 
valuable  addition  to  the  Vitagraph,  yet  since  we 
have  just  started  we  could  not  afford  to  pay  you 
anything  approaching  $150.00.'  So  I  knew  by  this 
that  they  had  looked  into  my  past  and  learned  that 
my  salary  was  $150.00.  This  was  all  true,  but  I 
felt  that  the  big  future  would  be  with  the  'movies,' 
so  I  asked  them  what  they  would  offer,  and  they 
said :  'There's  no  use  for  us  to  make  you  an  offer, 
Mr.  Bunny,  you  would  only  laugh  at  the  ridicu- 
lously low  sum.'  I  promised  to  be  a  real  good  boy 
and  not  even  smile,  so  they  continued:  'The  best 
we  could  offer  you  now,  Mr.  Bunny,  would  be 
$40.00  a  week.'  No,  I  didn't  laugh.  I  could  see 

99 


MOVING   PICTURE    ACTING 

the  big  difference  between  what  I  had  been  getting 
and  the  $40.00,  but  I  could  see  a  greater  future  on 
the  side  of  the  $40.00  with  the  shooters.  So  I  said, 
'You're  on,  I'm  game !' 

"And  that  was  my  beginning  with  the  Vitagraph, 
the  only  company  for  which  I've  ever  worked  or 
ever  will.  It  is  owned  by  the  biggest-hearted  men  in 
the  world,  generous,  thoughtful  and  always  ready  to 
help  a  fellow  when  he's  down! 

"The  pictures  as  an  industry  and  a  profession  are 
really  yet  in  their  infancy.  Not  half  their  possi- 
bilities have  been  realized.  They  offer  a  field  for 
the  ambitious  which  is  not  simply  for  this  day  and 
generation  but  for  the  infinite  future.  They  have 
to  an  extent  taken  the  place  of  the  drama  and  have 
wrought  a  strongly  perceptible  change  in  the  status 
of  the  dramatic  stage." 

"Mr.  Bunny,  what  do  you  think  of  the  report 
that  many  of  the  best  known  actors  and  actresses 
on  the  stage  are  thinking  of  going  into  the  pic- 
tures?" 

Here  Mr.  Bunny  shrugged  his  shoulders,  rolled 
his  remarkably  expressive  eyes,  and  in  a  most  in- 
imitable manner  illustrated  his  reply: 

"Yes,  a  few  years  ago  they  turned  up  their 
haughty  noses  at  people  in  the  'movies,'  and  now 
they  are  'thinking'  of  going  into  the  pictures.  Some 
of  them  'think'  a  long  while  when  they  seek  the 
work,  for  it  is  very  often  found  that  the  best  of 
actors  and  actresses  on  the  stage  fail  in  the  pictures. 
They  do  not  understand  how  to  'put  it  over'  by 
action,  as  they  have  grown  dependent  on  the  effect 
of  the  voice. 

ioa 


MOVING   PICTURE   ACTING 

"Just  recently  one  of  the  stars  of  the  dramatic 
stage  gave  a  really  splendid  portrayal  of  his  most 
famous  role  before  the  camera,  but  when  the  film 
was  screened,  though  his  expressions  and  actions 
were  excellent,  it  was  easy  to  see  that  he  was  not  an 
experienced  motion  picture  player.  He  had  not 
been  taught  the  many  little  tricks  of  the  work  which 
would  have  made  the  picture  perfect.  Therein  lies 
the  difference  between  acting  in  the  pictures  and  on 

the  stage. 

"The  talented  amateur  has  as  good  a  chance  as 
the  experienced  professional  and  very  often  better. 
He  is  more  apt  to  be  natural,  not  'stagy,'  employing 
simplicity  in  his  actions  rather  than  wild  meaning- 
less gestures,  and  more  quick  and  willing  to  learn 
than  some  of  our  so-called  present-day  stars 

"In  the  end,  each  must  begin  in  just  the  same 
way  as  I  did,— that  is,  'jobbing'  in  one  or  two 
pictures  at  a  daily  remuneration,  to  give  the  com- 
pany a  chance  to  see  how  he  or  she  appears  on  the 
screen,  and  then,  if  capable,  the  opportunity  in  the 
regular  stock  company  is  sure  to  come.  Again  J 
say,  There's  nothing  like  it." 


101 


UNIVERSITY  OF  CALIFORNIA  LIBRARY,  LOS  ANGELES 

COLLEGE  LIBRARY 

This  book  is  due  on  the  last  date  stamped  below. 


Book  Slip — Series  4280 


UCLA-College  Library 

PN  1995  S32m 


L  005  751  411  9 


UC  SOUTHERN  REGIONAL  LIBRARY  FACILITY 


A     001  066  692     3 


Unj 


